Prodigal Country (Preview)
by Douglas Lilburn | Baritone, SATB and Orchestra
by Douglas Lilburn | Baritone, SATB and Orchestra
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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 />
Horn 1 in F<br />
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 />
Trombone 1<br />
Trombone 2<br />
& b b<br />
& b b<br />
&<br />
?<br />
b b<br />
& b<br />
& b<br />
& b b<br />
B b b<br />
Moderato q = 80<br />
∑<br />
j<br />
b œ .<br />
∑<br />
∑<br />
˙w<br />
sff<br />
∑<br />
∑<br />
∑<br />
∑<br />
mf<br />
œ<br />
mf<br />
∑<br />
∑<br />
∑<br />
œ ˙ œ<br />
w<br />
∑<br />
∑<br />
∑<br />
∑<br />
cresc.<br />
∑<br />
∑<br />
∑<br />
œ ˙ n œ<br />
œ Œ Ó<br />
p<br />
∑ ?<br />
∑ ?<br />
∑<br />
∑<br />
œ<br />
∑<br />
∑<br />
∑<br />
n >Ÿ ˙<br />
>Ÿ<br />
œ<br />
∑<br />
Ó Œ > œ > p<br />
Ó Œ > œ ><br />
p<br />
∑<br />
∑<br />
∑<br />
∑<br />
Ó<br />
n . > œ<br />
œ<br />
˙ .<br />
.<br />
sffz<br />
><br />
˙w<br />
˙w<br />
∑<br />
∑<br />
˙<br />
p<br />
˙<br />
˙<br />
∑<br />
∑<br />
˙ œ œ<br />
œw<br />
Œ<br />
mf<br />
œ w ˙ .<br />
mf<br />
œ w ˙ .<br />
mf<br />
Ó<br />
mf<br />
∑<br />
dim.<br />
dim.<br />
∑<br />
∑<br />
œ˙<br />
œ<br />
Ÿ<br />
#<br />
˙<br />
Ÿ<br />
w<br />
w˙<br />
∑<br />
∑<br />
˙<br />
œ Œ Ó<br />
w<br />
∑<br />
∑<br />
# . œ<br />
œ ˙ .<br />
Œ<br />
.<br />
sfz<br />
˙œ.<br />
˙<br />
œ<br />
Œ<br />
mf<br />
œw<br />
œ ˙ .<br />
˙<br />
∑<br />
∑<br />
∑<br />
J œ p<br />
‰ Œ<br />
∑<br />
∑<br />
Bass Trombone<br />
?<br />
b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Timpani<br />
Cymbals<br />
?<br />
b b<br />
ã<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Ó Œ œæ<br />
sfz<br />
∑<br />
wæ<br />
mf<br />
∑<br />
wæ<br />
∑<br />
wæ<br />
∑<br />
j<br />
œ ‰ Œ Ó p<br />
∑<br />
Soprano<br />
& b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Alto<br />
& b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Tenor<br />
V b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Bass<br />
?<br />
b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Solo Baritone<br />
?<br />
b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
mf<br />
˙ .<br />
œ œ<br />
˙ œ ≈ œ œ<br />
Now<br />
as I<br />
go<br />
be-tween<br />
Violin I<br />
& b b<br />
Moderato q = 80<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Violin II<br />
& b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Viola<br />
Violoncello<br />
Double Bass<br />
B b b<br />
?<br />
b b<br />
?<br />
b b<br />
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 ?<br />
b b 4 j<br />
b œ .<br />
˙<br />
sff<br />
j<br />
b œ ˙ .<br />
sff<br />
j<br />
b œ ˙ .<br />
sff<br />
∑<br />
œ<br />
mf<br />
œ<br />
mf<br />
œ<br />
mf<br />
Ó Œ<br />
œ<br />
mf<br />
œ ˙ œ<br />
œ ˙ œ<br />
w<br />
œ ˙ n œ<br />
œ ˙ n œ<br />
œ ˙ n œ<br />
œ Œ Ó<br />
p<br />
œ<br />
œ<br />
œ<br />
Ÿ<br />
n ˙ ><br />
Ÿ<br />
œ<br />
><br />
n >Ÿ ˙<br />
>Ÿ œ<br />
n Ÿ > ˙<br />
œ> Ÿ<br />
Ó Œ œ<br />
sfz<br />
n œ œ ˙ œ<br />
><br />
sffz<br />
mf<br />
n œ<br />
> œ ˙ .<br />
sffz<br />
n œ œ> ˙ .<br />
sffz<br />
˙<br />
˙<br />
mf<br />
mf<br />
˙ œ œ<br />
œ ˙ .<br />
œ<br />
Œ<br />
œ ˙ .<br />
Ó<br />
œ œ n >Ÿ ˙<br />
˙<br />
w<br />
∑<br />
˙<br />
n œ . œ> ˙ œ<br />
sfz<br />
˙ .<br />
∑<br />
œ Œ Ó<br />
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 />
∑<br />
Ob. 1<br />
Ob. 2<br />
& b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Cl. 1<br />
Cl. 2<br />
&<br />
˙ .<br />
p Œ<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 />
?<br />
b<br />
?<br />
b<br />
& b b<br />
b<br />
˙ œ .<br />
pp<br />
œ˙ .<br />
Œ Ó<br />
pp<br />
∑<br />
∑<br />
j<br />
n œ<br />
J<br />
Œ<br />
b ˙ .<br />
w<br />
∑<br />
∑<br />
∑<br />
œ<br />
&<br />
&<br />
˙<br />
w ẇ<br />
mp<br />
w<br />
mp<br />
j<br />
œ ‰ Œ<br />
J<br />
˙<br />
∑<br />
w<br />
∑<br />
œ œ b ˙<br />
w<br />
∑<br />
˙<br />
w<br />
.<br />
˙ .<br />
w<br />
∑<br />
∑<br />
j ‰<br />
œ<br />
‰<br />
j<br />
œ<br />
˙ .<br />
w<br />
∑<br />
∑<br />
∑<br />
∑<br />
œ<br />
J<br />
‰<br />
Ó Œ œ<br />
sf<br />
∑<br />
∑<br />
œ ‰ Œ Ó<br />
J<br />
∑<br />
˙w<br />
˙<br />
∑<br />
∑<br />
∑<br />
Trb. 1<br />
Trb. 2<br />
B b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
B.Trb.<br />
?<br />
b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Timp.<br />
?<br />
b b<br />
∑<br />
∑<br />
wæ<br />
mp<br />
wæ<br />
j<br />
œ ‰ Œ Ó<br />
∑<br />
Ó Œ œæ<br />
sf<br />
wæ<br />
Cym.<br />
ã<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
S<br />
& b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
A<br />
& b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
T<br />
V b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
B<br />
?<br />
b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Solo<br />
Bar.<br />
Vn I<br />
?<br />
b b<br />
9<br />
& b b<br />
˙<br />
b œ<br />
‰ J œ<br />
sands red and<br />
∑<br />
b œ œ ˙ b œ<br />
yel-low<br />
as pop-pies,<br />
Or a - cross a de-sert<br />
ma-ny<br />
- breast-ed<br />
like Ka - li,<br />
∑<br />
œ œ .<br />
J<br />
∑<br />
Ó<br />
mp<br />
Ó œ .<br />
∑<br />
≈ R<br />
œ<br />
A<br />
˙ Œ œ<br />
∑<br />
b œ œ .<br />
J<br />
più cresc.<br />
∑<br />
Œ œ œ<br />
œ<br />
n œ<br />
J<br />
‰ Œ œ<br />
∑<br />
n œ œ Ó<br />
∑<br />
Vn II<br />
& b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Va<br />
Vc.<br />
D.B.<br />
B b b<br />
?<br />
b b<br />
?<br />
b b<br />
w<br />
b<br />
˙ œ .<br />
∑<br />
j<br />
n œ<br />
J<br />
b ˙ .<br />
œ<br />
b ˙ .<br />
b ˙<br />
œ œ<br />
div.<br />
b<br />
˙<br />
p<br />
œ ‰ Œ<br />
J<br />
. ˙<br />
n w ẇ˙<br />
œ<br />
j<br />
œ ‰ Œ<br />
œ<br />
˙œ .<br />
b œ œ . .<br />
‰ Ó<br />
∑<br />
j<br />
œ ‰ Œ<br />
r<br />
œ<br />
w<br />
mp<br />
Ó<br />
Ó<br />
j<br />
b œ<br />
j b œ<br />
unis.<br />
˙<br />
unis.<br />
˙<br />
p<br />
p<br />
b ˙ .<br />
œ œ<br />
œ ˙ œ<br />
œ<br />
div.<br />
cresc.<br />
cresc.<br />
˙˙<br />
cresc.<br />
œ<br />
œ<br />
œ<br />
Ÿ<br />
n ˙ ><br />
Ÿ<br />
œ<br />
><br />
œ œ œ n >Ÿ œ<br />
œ<br />
œ<br />
˙- > œ<br />
˙<br />
œ<br />
n œ ˙ œ<br />
n œ ˙ œ<br />
œ<br />
œ<br />
˙<br />
˙ .<br />
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 />
&<br />
?<br />
b b<br />
& b<br />
& b<br />
& b b<br />
Ó<br />
∑<br />
∑<br />
Œ<br />
b œ<br />
mp<br />
œ ˙ œ<br />
w<br />
∑<br />
∑<br />
∑<br />
1.<br />
∑<br />
∑<br />
˙ œ œ<br />
b ẇ œ b œ<br />
∑<br />
∑<br />
∑<br />
w<br />
b ˙<br />
∑<br />
∑<br />
œ œ<br />
b œ œ n œ<br />
∑<br />
∑<br />
∑<br />
œ<br />
n w<br />
n ˙<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
œ<br />
. ˙<br />
˙<br />
.<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
B<br />
∑<br />
∑<br />
œ œ ˙ œ<br />
œ<br />
˙ .<br />
œ n œ ˙ b<br />
œ<br />
∑<br />
∑ ?<br />
∑<br />
Ó<br />
˙<br />
˙<br />
mp<br />
∑<br />
Œ<br />
˙ .<br />
˙<br />
b œ œ b ˙œ œ<br />
><br />
∑<br />
Ó Œ œ<br />
sfz<br />
∑<br />
a2<br />
w<br />
w<br />
w<br />
˙w<br />
mf<br />
w<br />
∑<br />
∑<br />
˙<br />
∑<br />
˙<br />
˙ .<br />
Ó<br />
Ó<br />
Œ<br />
Œ<br />
j<br />
‰ Œ Ó<br />
J<br />
œ<br />
˙<br />
.<br />
˙<br />
œ<br />
œ<br />
œ<br />
œ<br />
f<br />
œ<br />
œ<br />
f<br />
œ<br />
f<br />
j<br />
œ ‰ Œ &<br />
p<br />
∑<br />
w<br />
w<br />
f<br />
œ<br />
œ<br />
œ<br />
œ<br />
b<br />
b<br />
œ œ<br />
b ˙<br />
b ˙ .<br />
b<br />
b w<br />
œ b ˙ .<br />
b w<br />
b œ<br />
b œ<br />
∑<br />
∑<br />
œ<br />
œ<br />
Trb. 1<br />
Trb. 2<br />
B b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
B.Trb.<br />
?<br />
b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Timp.<br />
Cym.<br />
?<br />
b b<br />
ã<br />
˙æ<br />
Ó<br />
p<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Ó<br />
∑<br />
Œ<br />
Ͼ<br />
sfz<br />
wæ<br />
∑<br />
˙æ<br />
j ‰ Œ œ<br />
p<br />
∑<br />
∑<br />
∑<br />
S<br />
& b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
A<br />
& b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
T<br />
V b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
B<br />
?<br />
b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Solo<br />
Bar.<br />
?<br />
b b<br />
∑<br />
mf<br />
b ˙ œ n œ<br />
I<br />
shall see<br />
œ<br />
al<br />
b œ œ œ<br />
n ˙<br />
Ó<br />
Œ ˙ œ<br />
- ways these things,<br />
And my heart be bro - ken<br />
. ˙<br />
œ<br />
˙<br />
b ˙<br />
œ ˙ Œ<br />
for them;<br />
∑<br />
∑<br />
Vn I<br />
Vn II<br />
Va<br />
Vc.<br />
D.B.<br />
17<br />
& b b<br />
& b b<br />
B b b<br />
?<br />
b b<br />
?<br />
b b<br />
. ˙<br />
∑<br />
∑<br />
b œ<br />
œ ˙ b œ<br />
w<br />
w<br />
b ˙ .<br />
mf<br />
∑<br />
∑<br />
b œ<br />
œ b œ œ b œ<br />
mf<br />
b œ .<br />
b œ . ‰ Ó<br />
p<br />
˙<br />
b ˙<br />
∑<br />
∑<br />
œ<br />
b œ<br />
œ<br />
b œ œ n œ<br />
∑<br />
˙<br />
n ˙ .<br />
∑<br />
∑<br />
n œ<br />
∑<br />
n œ<br />
œ<br />
˙ .<br />
˙ .<br />
∑<br />
∑<br />
œ<br />
œ<br />
unis.<br />
Œ ˙ œ<br />
mp<br />
B<br />
Œ<br />
Œ<br />
≥<br />
˙<br />
p<br />
≥<br />
˙<br />
p<br />
œ<br />
œ<br />
œ œ ˙ œ<br />
œ n œ ˙ b œ<br />
œ n œ ˙ b œ<br />
Ÿ<br />
œ b œ œ n œ<br />
Ÿ<br />
œ b œ œ n œ<br />
˙ .<br />
Ÿ<br />
n œ<br />
b œ œ œ œ><br />
b œ œ œ œ><br />
n œ . ˙ œ<br />
n œ . ˙ œ<br />
n œ . ˙ œ<br />
˙ .<br />
˙ .<br />
œ<br />
œ<br />
œ<br />
œ<br />
n Ÿ œ œ œ<br />
n Ÿ œ œ œ<br />
Ÿ i Ÿ i<br />
œ ˙ œ<br />
˙ .<br />
. ˙<br />
œ<br />
œ<br />
˙<br />
f<br />
˙<br />
f<br />
œ<br />
f<br />
b w<br />
f<br />
b w<br />
f<br />
b œ<br />
b ˙<br />
b ˙<br />
b œ<br />
œ<br />
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 />
˙<br />
œ<br />
œ<br />
˙<br />
˙<br />
œ<br />
œ<br />
œ<br />
œ<br />
œ<br />
œ<br />
œ<br />
œ<br />
œ<br />
œ<br />
b œ œ œ<br />
b œ œ œ<br />
b œ<br />
b œ<br />
œ<br />
œ<br />
w<br />
w<br />
œ<br />
œ<br />
˙<br />
˙<br />
w ˙ .<br />
b ˙<br />
b ˙<br />
b<br />
b<br />
˙˙<br />
œ<br />
œ<br />
œ<br />
œ<br />
œ<br />
œ<br />
œ<br />
œ<br />
œ<br />
œ<br />
œ<br />
b ˙<br />
b œ<br />
œ<br />
œ<br />
b w œ ˙ .<br />
b œ<br />
b œ<br />
b œ<br />
cresc.<br />
cresc.<br />
œ<br />
œ<br />
cresc.<br />
œ<br />
œ<br />
œ<br />
œ<br />
œ<br />
œ<br />
˙ .<br />
˙ .<br />
œ<br />
œ<br />
˙ .<br />
˙ œ œ<br />
œ<br />
œ<br />
˙<br />
.<br />
b œ<br />
b œ<br />
˙˙<br />
œ<br />
a2<br />
œ<br />
˙<br />
˙<br />
œ<br />
œ<br />
œ<br />
œ<br />
˙ œ<br />
œ<br />
œ<br />
œ<br />
˙<br />
˙<br />
˙<br />
œ<br />
œ<br />
b œ œ ˙<br />
œ<br />
œ<br />
C<br />
più mosso q = c.108<br />
n œ.<br />
n œ ‰ Œ Ó ∑<br />
J<br />
sffz<br />
n œ . n œ ‰ Œ Ó ∑<br />
J<br />
sffz<br />
n œ.<br />
n œ ‰ Œ Ó ∑<br />
J<br />
sffz<br />
n œ. J<br />
‰ Œ Ó<br />
sffz<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Hn 1<br />
Hn 2<br />
Hn 3<br />
Hn 4<br />
& b<br />
& b<br />
œ˙<br />
œ b<br />
œ<br />
œ<br />
∑<br />
œ b ˙<br />
w<br />
∑<br />
œ<br />
w<br />
w<br />
∑<br />
cresc.<br />
j<br />
œ ‰ Œ Ó<br />
J<br />
œ<br />
p<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Tpt 1<br />
Tpt 2<br />
& b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Trb. 1<br />
Trb. 2<br />
B b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
B.Trb.<br />
?<br />
b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Timp.<br />
?<br />
b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Cym.<br />
ã<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
S<br />
& b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
A<br />
& b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
T<br />
V b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
B<br />
?<br />
b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Solo<br />
Bar.<br />
?<br />
b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Ó<br />
p<br />
n ˙<br />
Ó<br />
˙<br />
Œ<br />
œ œ n œ<br />
œ<br />
œ œ .<br />
J<br />
œ œ<br />
C<br />
Earth,<br />
earth,<br />
and the pur - ple thi-ther - dust - y<br />
Vn I<br />
Vn II<br />
Va<br />
27<br />
& b b œ œ b œ œ œ<br />
& b b<br />
B b b<br />
œ œ b œ œ œ<br />
˙ œ œ<br />
˙<br />
˙<br />
œ<br />
b ˙<br />
b ˙<br />
b ˙<br />
œ<br />
œ œ œ œ<br />
œ œ œ œ<br />
œ<br />
b œ<br />
b œ<br />
cresc.<br />
cresc.<br />
cresc.<br />
œ<br />
˙ .<br />
. ˙<br />
œ<br />
œ<br />
˙ œ œ<br />
œ œ b ˙<br />
œ œ b ˙<br />
˙<br />
˙<br />
più mosso q = c.108<br />
œ œ œ<br />
æ æ æ<br />
n œ œ<br />
æ æ<br />
œæ œ n> œ<br />
æ æ<br />
sfz p<br />
œ œ œ n œ<br />
æ æ æ æ<br />
sfz p<br />
n œ œ<br />
æ æ<br />
œ œ<br />
æ æ<br />
sfz p<br />
œæ œæ œæ œ ><br />
æ<br />
œ<br />
æ<br />
n œ œ æ æ<br />
œ æ<br />
><br />
œ<br />
æ<br />
œ<br />
æ<br />
œ<br />
æ<br />
Ͼ<br />
Ͼ Ͼ Ͼ Ͼ<br />
œ<br />
æ<br />
œ<br />
æ<br />
œ n<br />
æ<br />
œ<br />
æ<br />
œ<br />
æ<br />
n> œ<br />
æ<br />
œ<br />
æ<br />
œ n<br />
æ<br />
œæ œ ><br />
æ œæ œæ<br />
œ<br />
æ<br />
œ<br />
> æ œ æ n œæ<br />
Vc.<br />
D.B.<br />
?<br />
b b<br />
?<br />
b b<br />
˙<br />
˙<br />
b œ<br />
b œ<br />
œ<br />
œ<br />
˙ .<br />
w<br />
œ<br />
b œ ˙ .<br />
˙<br />
cresc.<br />
j<br />
œ ‰ Œ<br />
p<br />
˙<br />
∑<br />
œ<br />
œ<br />
b œ œ ˙<br />
∑<br />
n œ ‰ Œ Ó<br />
J<br />
sfz<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
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 />
∑<br />
∑<br />
Ó Œ œ > p<br />
Ó Œ n > œ<br />
><br />
p<br />
∑<br />
∑<br />
1.<br />
w<br />
w<br />
∑<br />
∑<br />
˙<br />
w<br />
˙<br />
Ó<br />
˙<br />
˙<br />
˙˙<br />
p<br />
∑<br />
j<br />
œ ‰ Œ Ó<br />
œ ˙ .<br />
œ ˙ .<br />
œ<br />
œ<br />
˙<br />
˙ .<br />
∑<br />
∑<br />
# w ˙ ˙<br />
˙<br />
˙ .<br />
∑<br />
œ<br />
œ<br />
Ó<br />
˙ .<br />
œ ˙ .<br />
w<br />
w<br />
Œ<br />
∑<br />
œ<br />
p<br />
p<br />
j<br />
œ ‰<br />
œ<br />
w<br />
w<br />
w<br />
˙˙<br />
∑<br />
∑<br />
œ<br />
œ<br />
cresc.<br />
œ<br />
œ<br />
b ˙<br />
b ˙<br />
∑<br />
œ ‰ Œ Ó<br />
J<br />
p<br />
w<br />
w<br />
∑<br />
cresc.<br />
œ<br />
œ<br />
Trb. 1<br />
Trb. 2<br />
B b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
B.Trb.<br />
?<br />
b b<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 />
∑<br />
∑<br />
Ó<br />
Œ<br />
∑<br />
œ<br />
> æ<br />
p<br />
wæ<br />
∑<br />
wæ<br />
∑<br />
cresc.<br />
wæ<br />
∑<br />
S<br />
& b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
A<br />
& b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
T<br />
V b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
B<br />
?<br />
b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Solo<br />
Bar.<br />
Vn I<br />
Vn II<br />
Va<br />
Vc.<br />
D.B.<br />
?<br />
b b<br />
36<br />
& b b œ œ œ æ n œ<br />
æ æ æ<br />
& b b<br />
B b b<br />
?<br />
b b<br />
?<br />
b b<br />
œ<br />
œ<br />
Ó<br />
grass-es,<br />
I shall dream thee fat rains,<br />
wait-ing a - lone by the de-sert<br />
Whose white and bit-ter<br />
n Ͼ<br />
Ͼ<br />
œ<br />
æ<br />
œ<br />
æ<br />
œ<br />
æ<br />
œ n<br />
æ<br />
∑<br />
∑<br />
œ n<br />
æ<br />
œ<br />
æ<br />
œ<br />
æ<br />
∑<br />
œæ œ n> œ<br />
æ æ<br />
œæ œ æ œ æ œ ><br />
æ<br />
œ<br />
æ<br />
n œ œ æ œ æ æ ><br />
∑<br />
∑<br />
Œ<br />
œ<br />
æ<br />
n ˙<br />
œ<br />
œæ œ n> œ<br />
æ æ<br />
œæ œæ œæ œ ><br />
æ<br />
œ<br />
æ<br />
n œ œ æ œ æ æ ><br />
∑<br />
∑<br />
˙<br />
œ<br />
æ<br />
b ˙<br />
œæ œ n œ<br />
æ æ<br />
Ͼ Ͼ Ͼ n Ͼ<br />
œ<br />
æ<br />
n œ œ œ æ æ æ<br />
Ó ˙><br />
p<br />
∑<br />
œ<br />
œ<br />
æ<br />
Œ<br />
œ<br />
æ<br />
n ˙<br />
œ<br />
æ<br />
œ<br />
æ<br />
œæ œæ œæ œ<br />
æ<br />
Ͼ<br />
n Ͼ<br />
n œ<br />
æ<br />
œ . ˙<br />
∑<br />
œ<br />
æ<br />
Ó<br />
œ<br />
æ<br />
œ<br />
æ<br />
œ<br />
æ<br />
n J œ œ œ J<br />
œ<br />
æ<br />
œ n<br />
æ<br />
n œ œ œ<br />
æ æ æ<br />
n œ œ æ n œ æ æ<br />
Ó Œ j b œ œ<br />
Ó Œ j b œ œ<br />
œ<br />
æ<br />
D<br />
p<br />
p<br />
. ˙ œ œ<br />
œ<br />
æ<br />
œ<br />
æ<br />
œ<br />
æ<br />
˙ .<br />
˙ .<br />
œ<br />
æ<br />
œ b<br />
æ<br />
œ b<br />
æ<br />
œ b<br />
æ<br />
œ b<br />
æ<br />
œ b<br />
æ<br />
œ b<br />
æ<br />
œ b<br />
æ<br />
œ<br />
æ<br />
œ<br />
œ<br />
b œ œ .<br />
J<br />
œ b<br />
æ<br />
b Ͼ<br />
œ<br />
æ<br />
Œ<br />
œ<br />
b œæ œ œ<br />
æ æ<br />
cresc.<br />
Ͼ Ͼ Ͼ<br />
cresc.<br />
b œ œ œ<br />
æ æ æ<br />
cresc.<br />
œ ˙ œ<br />
cresc.<br />
œ ˙ œ<br />
cresc.<br />
cresc.<br />
b œ<br />
‰ Jœ œ œ .<br />
J<br />
œ<br />
æ œ<br />
æ<br />
œ<br />
æ<br />
Ͼ<br />
Ͼ<br />
œ<br />
æ<br />
œ<br />
œ<br />
b Ͼ<br />
œ<br />
æ<br />
b ˙<br />
b ˙<br />
Ͼ<br />
œ<br />
æ<br />
Ͼ<br />
œ<br />
æ<br />
œ<br />
œ<br />
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 />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
a tempo<br />
∑<br />
∑<br />
∑<br />
∑<br />
E<br />
accel. e cresc.<br />
∑<br />
∑<br />
∑<br />
∑<br />
Ó Œ œ œ><br />
mf<br />
b œ<br />
Ó Œ j 1.<br />
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 />
& b<br />
& b b<br />
B b b<br />
?<br />
b b<br />
œ<br />
œ<br />
Œ<br />
w<br />
˙<br />
˙<br />
˙<br />
a2<br />
˙ .<br />
p<br />
∑<br />
œ<br />
œ<br />
œ ‰ Œ<br />
J<br />
p<br />
∑<br />
∑<br />
∑<br />
cresc.<br />
œ<br />
œ<br />
w<br />
w<br />
n w<br />
><br />
p<br />
b ˙<br />
b ˙<br />
∑<br />
∑<br />
∑<br />
∑<br />
œ<br />
œ<br />
cresc.<br />
∑<br />
œ<br />
œ ˙˙ œ<br />
œ<br />
sfz<br />
w<br />
˙<br />
a2<br />
n w<br />
mp<br />
w<br />
Œ<br />
˙<br />
mf<br />
∑<br />
Ó<br />
b œ<br />
sfz<br />
w<br />
w<br />
∑<br />
œ . œ .<br />
Œ ˙˙<br />
sffz<br />
mp<br />
˙w<br />
sfz<br />
n œ . b œ ˙ .<br />
sffz<br />
n . œ b œ ˙<br />
.<br />
.<br />
sffz<br />
w<br />
˙<br />
mp<br />
dim.<br />
w<br />
w<br />
w<br />
w<br />
˙<br />
w<br />
w<br />
∑<br />
j<br />
œ ‰ Œ<br />
pp<br />
∑<br />
j<br />
œ ‰ Œ Ó<br />
œ<br />
ppp<br />
w<br />
f<br />
w<br />
f<br />
∑<br />
ppp<br />
j<br />
˙<br />
œ ‰ Œ<br />
œ<br />
J ‰ Œ Ó<br />
ppp<br />
j<br />
˙<br />
œ ‰ Œ<br />
ppp<br />
˙<br />
w<br />
∑<br />
∑<br />
j<br />
œ ‰ Œ<br />
pp<br />
∑<br />
∑<br />
∑<br />
Ó Œ j b œ<br />
w<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
a2<br />
œ<br />
sf<br />
˙ .<br />
w<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
œ<br />
mf<br />
><br />
Timp.<br />
Cym.<br />
?<br />
b b<br />
ã<br />
wæ<br />
∑<br />
wæ<br />
∑<br />
˙æ .<br />
∑<br />
œ æ<br />
sfz<br />
wæ<br />
∑<br />
wæ<br />
∑<br />
j<br />
œ ‰ Œ Ó<br />
ppp<br />
∑<br />
∑<br />
∑<br />
∑<br />
Ó Œ œ˙<br />
p<br />
∑<br />
Ó Œ œ˙<br />
p<br />
S<br />
& b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
A<br />
& b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
T<br />
V b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
B<br />
?<br />
b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Solo<br />
Bar.<br />
?<br />
b b<br />
b œ œ<br />
J<br />
‰ Œ<br />
œ<br />
n ˙<br />
Œ<br />
œ<br />
n ˙ .<br />
Œ<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Vn I<br />
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 />
œ œæ<br />
æ<br />
n œ œ œ œæ<br />
æ æ æ<br />
œ<br />
æ<br />
œ<br />
œ<br />
b œ œ n œæ<br />
æ æ<br />
b ˙<br />
b ˙<br />
œ<br />
œ<br />
rain.<br />
Ÿ<br />
Ͼ<br />
n ˙ ><br />
Ÿ<br />
Ͼ<br />
n ˙ ><br />
Ÿ<br />
n œæ ˙><br />
œ<br />
œ<br />
˙<br />
˙<br />
Ÿ<br />
œ<br />
><br />
Ÿ<br />
œ<br />
><br />
Ÿ<br />
œ<br />
><br />
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 />
œ ‰ Œ<br />
pp<br />
w<br />
œ ˙ .<br />
Ó<br />
b ˙<br />
æ<br />
pp<br />
j<br />
˙<br />
œ ‰ Œ<br />
ppp<br />
j<br />
œ ‰ Œ Ó<br />
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 />
b œ<br />
mp æ<br />
œ<br />
æ<br />
Ͼ<br />
∑<br />
∑<br />
Ó<br />
b Ͼ<br />
∑<br />
Œ<br />
œ<br />
> æ<br />
p<br />
œæ œæ œ æ<br />
><br />
∑<br />
∑<br />
Ó Œ œ><br />
æ<br />
p<br />
˙æ<br />
b Ͼ<br />
b Ͼ<br />
œ<br />
><br />
æ<br />
œæ œæ œ ><br />
æ<br />
∑<br />
∑<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 />
><br />
f<br />
j<br />
œ ‰ Œ<br />
∑<br />
mp<br />
Ó Œ ><br />
w<br />
œ<br />
∑<br />
∑<br />
∑<br />
∑<br />
˙ .<br />
˙ .<br />
w<br />
∑<br />
∑<br />
j<br />
b œ<br />
œ<br />
><br />
j<br />
b œ œ ><br />
f<br />
Ó Œ œ œ><br />
mf<br />
∑<br />
∑<br />
∑<br />
cresc.<br />
w<br />
w<br />
Ó<br />
Œ<br />
w<br />
mf<br />
a2<br />
cresc.<br />
cresc.<br />
Œ<br />
><br />
œ<br />
f<br />
b œ<br />
><br />
b œ > œ<br />
f ><br />
w Ó Œ œ œ><br />
p<br />
Ó Œ<br />
2.<br />
> œ<br />
p<br />
Ó Œ > œ<br />
p<br />
˙<br />
.<br />
˙<br />
.<br />
˙<br />
.<br />
j<br />
b œ<br />
j<br />
b œ<br />
j<br />
œ<br />
œ<br />
><br />
œ<br />
><br />
b œ œ<br />
><br />
œ Œ Œ œ œ<br />
><br />
><br />
˙<br />
œ<br />
.<br />
f<br />
˙<br />
.<br />
. ˙ . ˙<br />
cresc.<br />
œ<br />
><br />
f<br />
><br />
œ<br />
˙ .<br />
> œ<br />
˙ .<br />
> œ<br />
cresc.<br />
a2<br />
cresc.<br />
cresc.<br />
cresc.<br />
˙<br />
.<br />
˙<br />
.<br />
˙ .<br />
˙<br />
.<br />
. ˙ . ˙<br />
˙<br />
.<br />
j<br />
b œ<br />
j<br />
b œ<br />
j<br />
b œ<br />
œ<br />
><br />
œ<br />
><br />
œ<br />
><br />
><br />
œ<br />
><br />
œ<br />
œ<br />
><br />
˙ .<br />
> œ<br />
˙ .<br />
> œ<br />
˙ .<br />
> œ<br />
œ ˙˙> œ œ<br />
><br />
œ<br />
œ ˙˙> œ œ<br />
><br />
œ<br />
œ ˙˙> œ œ<br />
><br />
œ<br />
œ<br />
œ<br />
œ<br />
> ><br />
˙<br />
œ > ><br />
˙<br />
œ ˙<br />
><br />
œ ˙><br />
œ<br />
><br />
><br />
œ<br />
œ ˙> œ ><br />
œ ˙><br />
><br />
œ<br />
Timp.<br />
?<br />
b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<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 />
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 />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
œ<br />
æ<br />
œæ œæ b œ<br />
æ<br />
b œæ œæ œæ b œ<br />
æ<br />
∑<br />
∑<br />
œ b<br />
æ<br />
Ͼ<br />
œ<br />
æ<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
b œ œ œ æ æ æ<br />
b Ͼ<br />
œ<br />
æ<br />
∑<br />
∑<br />
b Ͼ<br />
Ͼ<br />
Ͼ<br />
œ b<br />
æ<br />
b Ͼ<br />
Ͼ<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Ͼ Ͼ Ͼ<br />
><br />
b Ͼ<br />
b Ͼ Ͼ ><br />
b Ͼ Ͼ b Ͼ<br />
∑<br />
∑<br />
Ͼ<br />
><br />
œ<br />
æ<br />
œ<br />
æ<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
œ<br />
æ<br />
œ<br />
æ<br />
œ<br />
b Ͼ<br />
b œ œ æ<br />
æ æ<br />
œ<br />
æ<br />
œ b<br />
æ<br />
œ b<br />
æ<br />
∑<br />
∑<br />
cresc.<br />
cresc.<br />
cresc.<br />
œ<br />
æ<br />
b œ<br />
æ<br />
œ<br />
æ<br />
œ<br />
æ<br />
b œ<br />
æ<br />
œ b<br />
æ<br />
œ<br />
æ<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
œ<br />
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 />
˙<br />
n ˙<br />
n ˙<br />
w<br />
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n<br />
n<br />
w<br />
∑<br />
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Ó<br />
Ó<br />
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n œ<br />
n œ<br />
Œ<br />
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a2<br />
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n<br />
w<br />
ff<br />
#<br />
n w<br />
ff<br />
#<br />
w<br />
ff<br />
n ˙<br />
˙<br />
w<br />
w<br />
w<br />
œ ˙ œ<br />
œ<br />
#<br />
œ n œ<br />
œ<br />
œ<br />
n œ œ œ<br />
œ<br />
œ<br />
# œ<br />
œ<br />
n œ<br />
3<br />
n<br />
œ<br />
3<br />
3<br />
œ œ<br />
œ # œ œ<br />
3<br />
3<br />
n œ œ œ<br />
N<br />
n<br />
w<br />
w<br />
n w<br />
a2<br />
# w<br />
w<br />
dim.<br />
œ<br />
J ‰ Œ Ó<br />
p<br />
œ<br />
j<br />
w ‰ Œ Ó<br />
p<br />
˙<br />
# ˙<br />
j<br />
œ ‰ Œ n ˙<br />
Ÿ ~~~~~~<br />
Ó<br />
n ˙ ><br />
ff<br />
œ ∑<br />
J ‰ Œ Ó<br />
˙<br />
˙<br />
a2<br />
Ÿ ~~~~~~<br />
ff # ˙<br />
Ÿ ~~~~~~<br />
n > ˙<br />
ff<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 />
B b b<br />
?<br />
b b<br />
w<br />
w<br />
w<br />
w<br />
w w<br />
w<br />
w<br />
∑<br />
w<br />
n w<br />
w<br />
n w<br />
w<br />
w<br />
n w<br />
∑<br />
œ Œ Œ œ #<br />
œ Œ Œ # œ<br />
œ Œ Œ n œ<br />
n œ Œ Œ œ<br />
œ<br />
Œ<br />
∑<br />
Œ<br />
œ<br />
# w<br />
ff<br />
n # w ff<br />
n w<br />
ff<br />
n w<br />
ff<br />
n w<br />
ff<br />
∑<br />
w<br />
w<br />
w w<br />
w<br />
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Œ ˙ œ<br />
œ<br />
œ<br />
# œ<br />
#<br />
œ n œ<br />
œ n n œ œ<br />
œ<br />
3<br />
n<br />
œ<br />
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n<br />
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n œ<br />
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3<br />
3<br />
3<br />
n œ œ œ<br />
3<br />
n œ<br />
œ œ œ<br />
n w<br />
w n n ww<br />
n w<br />
w<br />
w<br />
dim.<br />
dim.<br />
w<br />
w<br />
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w<br />
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J œ ‰ Œ<br />
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j<br />
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j<br />
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j<br />
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j<br />
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∑<br />
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Timp.<br />
Cym.<br />
?<br />
b b<br />
ã<br />
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w > æ<br />
f<br />
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w<br />
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A<br />
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B<br />
& b b<br />
& b b<br />
V b b<br />
?<br />
b b<br />
w<br />
seek,<br />
w<br />
seek,<br />
œ<br />
œ<br />
n œ<br />
œ œ .<br />
J<br />
how-ev-er<br />
dim - ly,<br />
scent of an-oth-er<br />
spring<br />
than the Mus-co-vy<br />
n œ<br />
j<br />
œ œ .<br />
œ<br />
œ<br />
n ˙<br />
n ˙<br />
œ<br />
œ œ .<br />
J<br />
how-ev-er<br />
dim-ly,<br />
The scent of an-oth-er<br />
spring<br />
than the Mus-co-vy<br />
œ<br />
j<br />
œ œ .<br />
how-ev-er<br />
dim-ly,<br />
The scent of an-oth-er<br />
spring<br />
than the Mus-co-vy<br />
˙<br />
˙<br />
œ œ Œ n œ<br />
œ œ Œ œ<br />
œ Œ Œ n œ<br />
The<br />
œ Œ Œ œ<br />
n œ œ œ œ œ . J<br />
œ œ œ<br />
j<br />
œ œ .<br />
# œ œ œ œ œ . J<br />
n œ œ œ œ œ . J<br />
how-ev-er<br />
dim - ly,<br />
The scent of an-oth-er<br />
spring<br />
than the Mus-co-vy<br />
n w<br />
w<br />
# w<br />
n w<br />
œ<br />
n œ œ œ<br />
3<br />
n œ œ<br />
œ œ œ œ n œ œ<br />
3<br />
œ # œ œ œ n œ œ<br />
œ<br />
3<br />
n œ œ œ œ œ<br />
3<br />
n w<br />
spring?<br />
n w<br />
spring?<br />
w<br />
spring?<br />
n w<br />
spring?<br />
w<br />
w<br />
w<br />
w<br />
˙<br />
˙<br />
˙<br />
˙<br />
p<br />
j<br />
œ ‰ Œ<br />
p<br />
j<br />
œ ‰ Œ<br />
p<br />
œ ‰ Œ<br />
J<br />
p<br />
œ<br />
J<br />
‰ Œ<br />
Solo<br />
Bar.<br />
?<br />
b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Vn I<br />
Vn II<br />
Va<br />
Vc.<br />
D.B.<br />
124<br />
& b b<br />
œ ˙ œ<br />
& b b<br />
B b b<br />
?<br />
b b<br />
?<br />
b b<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
n ˙<br />
n ˙<br />
n ˙<br />
n ˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
n ˙<br />
n ˙<br />
˙<br />
˙<br />
n ˙<br />
n ˙<br />
˙<br />
˙<br />
œ ˙ n œ<br />
œ ˙ œ<br />
˙<br />
˙<br />
œ<br />
œ<br />
n ˙<br />
n ˙<br />
n ˙<br />
n ˙<br />
œ<br />
œ<br />
n ˙<br />
n ˙<br />
ff<br />
˙<br />
˙<br />
˙˙<br />
˙<br />
˙<br />
ff<br />
# ˙<br />
# ˙<br />
˙˙<br />
ff<br />
n ˙<br />
ff<br />
n ˙<br />
ff<br />
˙<br />
˙<br />
œ n<br />
œ n<br />
˙˙<br />
œ<br />
œ<br />
˙˙<br />
œ<br />
œ<br />
œ<br />
œ<br />
œ #<br />
œ #<br />
˙˙<br />
œ<br />
œ<br />
œ ˙><br />
œ ˙><br />
œ<br />
><br />
œ<br />
><br />
œ<br />
œ<br />
œ<br />
œ<br />
œ<br />
œ<br />
œ<br />
œ<br />
n œ<br />
œ œ œ<br />
n œ<br />
œ œ œ<br />
œ<br />
œ<br />
œ<br />
œ<br />
3<br />
œ<br />
œ<br />
3<br />
# œ<br />
œ n œ<br />
# œ<br />
œ n œ<br />
n œ ><br />
n œ ><br />
3<br />
œ œ<br />
œ<br />
œ<br />
3<br />
n œ ><br />
œ ><br />
œ ><br />
3<br />
n œ ><br />
œ ><br />
œ ><br />
N<br />
n ˙<br />
n ˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
><br />
˙<br />
><br />
˙<br />
˙<br />
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˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
n ˙<br />
n ˙<br />
n ˙<br />
n ˙<br />
˙<br />
p<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
Ÿ~~~~~~<br />
n ˙ ><br />
Ÿ~~~~~~<br />
n ˙ ><br />
Ÿ~~~~~~<br />
n > ˙<br />
Ÿ~~~~~~<br />
n > ˙<br />
j<br />
œ ‰ Œ<br />
pp<br />
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 />
& b b ~~~ Ÿ<br />
˙ n ˙ ><br />
& b b<br />
~ ~ Ÿ<br />
&<br />
˙ # ˙ ><br />
?<br />
b b<br />
~~~ Ÿ<br />
˙ n > ˙<br />
& b<br />
& b<br />
& b b<br />
Ó<br />
Ó<br />
B b b Ó<br />
B b b Ó<br />
?<br />
b b Ó<br />
∑<br />
˙<br />
sfz<br />
˙<br />
sfz<br />
∑<br />
solo<br />
˙<br />
p<br />
˙<br />
sfz<br />
˙<br />
sfz<br />
n œ .<br />
˙ .<br />
∑<br />
# œ .<br />
˙ .<br />
n œ. ˙ .<br />
ww<br />
ww<br />
w<br />
w<br />
w<br />
∑<br />
w<br />
∑<br />
w<br />
w<br />
w˙ ˙<br />
mf<br />
w<br />
mf<br />
∑<br />
˙ œ -<br />
œ -<br />
f<br />
w<br />
mf<br />
w<br />
mf<br />
j<br />
œ ‰ Œ Ó<br />
p<br />
∑<br />
j ‰ Œ Ó<br />
œ<br />
p<br />
œ<br />
J ‰ Œ Ó<br />
p<br />
˙<br />
˙<br />
w<br />
w ∑<br />
w<br />
w<br />
w<br />
˙<br />
w<br />
w<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
˙<br />
Ó ˙<br />
mf<br />
œ ‰ œ ˙ J<br />
w<br />
w<br />
w<br />
w<br />
˙<br />
w<br />
mp<br />
w<br />
w<br />
∑<br />
∑<br />
∑<br />
∑<br />
p ‰ Œ<br />
j<br />
œ<br />
j<br />
œ ‰ Œ ˙<br />
mf<br />
w<br />
∑<br />
∑<br />
∑<br />
∑<br />
j<br />
œ ‰ Œ Ó<br />
J<br />
œ<br />
p<br />
mf<br />
w<br />
w b ˙ .<br />
. ˙<br />
œ Œ Ó<br />
œ<br />
n œ<br />
b w<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
b w œ Œ Ó<br />
mf<br />
b w<br />
b œ ˙ .<br />
b w<br />
f<br />
w<br />
mf<br />
˙<br />
˙<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
˙<br />
˙<br />
∑<br />
˙<br />
œ Œ Ó<br />
˙<br />
˙<br />
˙<br />
w<br />
b ˙<br />
˙<br />
mp<br />
ẇ<br />
˙<br />
w<br />
mp<br />
w<br />
w<br />
w<br />
w<br />
∑<br />
∑<br />
∑<br />
∑<br />
b ˙<br />
b ˙<br />
∑<br />
ẇ<br />
w w<br />
w<br />
w<br />
w<br />
∑<br />
∑<br />
∑<br />
∑<br />
˙<br />
∑<br />
O<br />
1. solo<br />
w<br />
pp<br />
w<br />
∑<br />
espressivo<br />
∑<br />
∑<br />
dim.<br />
w<br />
dim.<br />
‰ Œ Ó<br />
j<br />
œ<br />
pp ∑<br />
œ<br />
J<br />
‰ Œ Ó<br />
pp<br />
j<br />
œ ‰ Œ Ó<br />
pp<br />
j<br />
œ ‰ Œ Ó<br />
pp<br />
Timp.<br />
Cym.<br />
?<br />
b b<br />
ã<br />
˙ ˙ ˙æ<br />
sffz<br />
∑<br />
wæ<br />
∑<br />
wæ<br />
∑<br />
wæ<br />
mp<br />
∑<br />
wæ<br />
∑<br />
wæ<br />
∑<br />
wæ<br />
∑<br />
wæ<br />
∑<br />
wæ<br />
∑<br />
wæ<br />
∑<br />
wæ<br />
∑<br />
dim.<br />
wæ<br />
∑<br />
S<br />
& b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
A<br />
& b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
T<br />
V b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
B<br />
?<br />
b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Solo<br />
Bar.<br />
?<br />
b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Vn I<br />
Vn II<br />
Va<br />
Vc.<br />
D.B.<br />
133<br />
& b b ~~~ Ÿ<br />
˙ n ˙ ><br />
& b b ~~~ Ÿ<br />
˙ n ˙ ><br />
B b b ~~~ Ÿ<br />
˙ n > ˙<br />
?<br />
b b ~~~<br />
˙<br />
?<br />
b b Ó<br />
Ÿ<br />
n > ˙<br />
˙<br />
sffz<br />
n œ .<br />
˙ .<br />
n œ .<br />
˙ .<br />
n œ . ˙ .<br />
n œ. ˙ .<br />
˙<br />
˙<br />
˙<br />
w<br />
˙<br />
w<br />
˙<br />
˙<br />
mf<br />
˙<br />
mf<br />
˙<br />
mf<br />
˙<br />
w<br />
mf<br />
w<br />
w<br />
mf<br />
w<br />
˙<br />
w<br />
˙<br />
w<br />
˙<br />
w<br />
˙<br />
˙<br />
w<br />
w<br />
w<br />
w<br />
˙<br />
˙<br />
w<br />
w<br />
b ˙ .<br />
. ˙<br />
w<br />
œ<br />
œ<br />
b w<br />
b w<br />
b œ ˙ .<br />
b w<br />
w<br />
˙<br />
w<br />
˙<br />
˙<br />
w<br />
˙<br />
b ˙<br />
˙<br />
w<br />
w<br />
˙<br />
w<br />
w<br />
b ˙<br />
dim.<br />
dim.<br />
dim.<br />
dim.<br />
b ˙<br />
w<br />
˙<br />
w<br />
w<br />
˙<br />
b ˙<br />
O<br />
˙<br />
w<br />
p<br />
w<br />
w<br />
w<br />
˙<br />
p<br />
PEL22 – 19
Fl. 1<br />
Fl. 2<br />
145<br />
& b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Ob. 1<br />
Ob. 2<br />
& b b<br />
w<br />
w<br />
p<br />
˙<br />
˙<br />
˙<br />
˙<br />
b w<br />
˙<br />
n ˙ ><br />
˙<br />
˙<br />
b w<br />
˙<br />
˙<br />
b ˙<br />
˙<br />
w<br />
w<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 />
∑<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 />
& b<br />
& b<br />
& b b<br />
w<br />
w<br />
∑<br />
w<br />
w<br />
∑<br />
w<br />
w<br />
∑<br />
j<br />
‰ Œ Ó<br />
J<br />
œ<br />
pp<br />
j<br />
‰ Œ Ó<br />
J<br />
œ<br />
pp<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Trb. 1<br />
Trb. 2<br />
B b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
B.Trb.<br />
?<br />
b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Timp.<br />
?<br />
b b<br />
wæ<br />
j<br />
œ ‰ Œ Ó<br />
pp<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Cym.<br />
ã<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
S<br />
& b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
A<br />
& b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
T<br />
V b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
B<br />
?<br />
b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Solo<br />
Bar.<br />
?<br />
b b<br />
∑<br />
p espressivo<br />
w<br />
I<br />
b w<br />
too<br />
˙<br />
˙<br />
am<br />
b ˙<br />
sold<br />
b œ<br />
œ<br />
w<br />
b w<br />
Ó<br />
˙<br />
œ Œ œ œ<br />
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 />
˙<br />
j<br />
œ ‰ Œ Ó<br />
p<br />
w<br />
pp<br />
b w<br />
pp<br />
w<br />
pp<br />
w<br />
w<br />
w<br />
˙<br />
˙<br />
w<br />
˙<br />
b ˙<br />
w<br />
w<br />
˙<br />
˙<br />
w<br />
b w<br />
w<br />
˙<br />
˙<br />
b w<br />
b ˙<br />
˙<br />
b w<br />
w<br />
˙<br />
˙<br />
˙<br />
w<br />
˙<br />
b ˙<br />
b ˙<br />
˙<br />
w<br />
˙<br />
˙<br />
˙<br />
˙<br />
w<br />
b ˙<br />
˙<br />
b ˙<br />
w<br />
b ˙ .<br />
˙<br />
œ<br />
œ<br />
b œ<br />
Vc.<br />
?<br />
b b<br />
w<br />
p<br />
w<br />
pp<br />
w<br />
w<br />
˙<br />
b ˙<br />
w<br />
w<br />
˙<br />
˙<br />
˙<br />
b ˙<br />
w<br />
w<br />
˙<br />
˙<br />
D.B.<br />
?<br />
b b<br />
w<br />
œ Œ Ó<br />
pp<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<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 />
∑<br />
˙<br />
∑<br />
w<br />
f<br />
∑<br />
n w<br />
f<br />
∑<br />
w ˙<br />
Ó<br />
mp<br />
a2<br />
Ó<br />
˙<br />
mp<br />
j<br />
‰ Œ J œ<br />
˙<br />
mp<br />
∑<br />
ẇ<br />
w<br />
œ<br />
œ<br />
˙ œ œ<br />
w<br />
∑<br />
˙<br />
f<br />
w<br />
f<br />
w<br />
˙<br />
f<br />
˙<br />
˙<br />
∑<br />
˙<br />
˙<br />
˙ œ œ<br />
˙ ˙<br />
œ œ<br />
∑<br />
Hn 1<br />
Hn 2<br />
Hn 3<br />
Hn 4<br />
& b<br />
& b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
w<br />
˙<br />
p<br />
˙<br />
∑<br />
w<br />
mp<br />
∑<br />
˙<br />
j<br />
‰ Œ<br />
J œ<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
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 />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
w<br />
p<br />
∑<br />
∑<br />
mp<br />
w<br />
mp<br />
∑<br />
w<br />
∑<br />
dim.<br />
ẇ<br />
œ<br />
J ‰ Œ<br />
pp<br />
∑<br />
w<br />
∑<br />
∑<br />
w<br />
∑<br />
∑<br />
B.Trb.<br />
?<br />
b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Timp.<br />
?<br />
b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Cym.<br />
ã<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
S<br />
& b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
A<br />
& b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
T<br />
V b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
B<br />
?<br />
b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
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 />
˙<br />
˙<br />
˙<br />
w<br />
mf<br />
w<br />
mf<br />
w<br />
mf<br />
˙ ˙-<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙ œ œ<br />
˙ ˙<br />
˙ ˙<br />
˙<br />
˙<br />
w<br />
˙<br />
˙<br />
˙ ˙<br />
˙<br />
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 />
˙<br />
˙<br />
˙<br />
w<br />
mf<br />
˙<br />
J œ<br />
‰ Œ<br />
∑<br />
∑<br />
∑<br />
D.B.<br />
?<br />
b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<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 />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
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 />
∑<br />
ppp<br />
j<br />
œ ‰ Œ Ó<br />
w<br />
∑<br />
∑<br />
J<br />
œ ‰ Œ Ó<br />
ppp<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
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 />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
B.Trb.<br />
?<br />
b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Timp.<br />
?<br />
b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Cym.<br />
ã<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
S<br />
A<br />
T<br />
& b b<br />
& b b<br />
V b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
pp<br />
w<br />
I<br />
∑<br />
∑<br />
w<br />
too<br />
∑<br />
∑<br />
˙<br />
∑<br />
∑<br />
n ˙<br />
am<br />
∑<br />
˙ œ n œ<br />
sold<br />
∑<br />
pp<br />
w<br />
in - to strange -<br />
I<br />
n ˙<br />
∑<br />
˙<br />
w<br />
too<br />
w<br />
ness,<br />
∑<br />
˙<br />
Ó<br />
∑<br />
˙<br />
am<br />
˙<br />
Yet<br />
˙ œ œ w<br />
sold in - to strange -<br />
œ œ w<br />
˙<br />
in my heart<br />
∑ ∑<br />
w<br />
ness,<br />
˙ ˙<br />
∑<br />
can<br />
B<br />
?<br />
b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Solo<br />
Bar.<br />
?<br />
b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
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 />
˙<br />
n ˙˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
w<br />
w<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
w<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
œ<br />
œ œ<br />
I<br />
˙<br />
˙<br />
w<br />
w<br />
˙<br />
˙<br />
too<br />
œ<br />
œ Œ Ó<br />
˙<br />
˙<br />
˙<br />
Va<br />
B b b<br />
w<br />
w<br />
œ<br />
J ‰ Œ Ó<br />
pp<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
w > pp<br />
Vc.<br />
?<br />
b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
D.B.<br />
?<br />
b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<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 />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Hn 1<br />
Hn 2<br />
Hn 3<br />
Hn 4<br />
& b<br />
& b<br />
w<br />
∑<br />
˙ .<br />
∑<br />
œ<br />
w<br />
∑<br />
w<br />
∑<br />
w<br />
∑<br />
w<br />
∑<br />
˙<br />
j<br />
œ ‰ Œ<br />
ppp<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Tpt 1<br />
Tpt 2<br />
& b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Trb. 1<br />
Trb. 2<br />
B b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
B.Trb.<br />
?<br />
b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Timp.<br />
?<br />
b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Cym.<br />
ã<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
S<br />
A<br />
T<br />
& b b<br />
& b b<br />
V b b<br />
Ó<br />
˙<br />
Yet<br />
˙ œ œ<br />
on - ly dis - solve, re - form, The circ - - - ling shapes of New Zea - land<br />
∑<br />
˙<br />
˙ .<br />
œ<br />
œ<br />
in my<br />
∑<br />
Œ<br />
w<br />
heart<br />
˙<br />
∑<br />
˙<br />
˙<br />
˙<br />
˙<br />
can<br />
∑<br />
˙<br />
˙ œ œ<br />
˙<br />
˙<br />
∑<br />
w<br />
˙<br />
∑<br />
˙<br />
˙<br />
w<br />
˙<br />
∑<br />
˙ Œ œ<br />
on - ly dis - solve, re - form<br />
the circ - - - ling<br />
œ œ ˙<br />
∑<br />
˙<br />
˙<br />
∑<br />
˙<br />
˙<br />
˙<br />
w<br />
things.<br />
˙<br />
∑<br />
w<br />
shapes<br />
pp<br />
w<br />
∑<br />
œ œ ˙<br />
of<br />
w<br />
I<br />
b w<br />
New<br />
B<br />
?<br />
b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
pp<br />
w<br />
w<br />
˙<br />
˙<br />
˙ œ œ<br />
I<br />
˙<br />
˙<br />
too<br />
w<br />
Solo<br />
Bar.<br />
Vn I<br />
Vn II<br />
?<br />
b b<br />
182<br />
& b b<br />
& b b<br />
˙<br />
Ó<br />
˙<br />
am<br />
˙˙<br />
w<br />
˙ œ œ<br />
˙ œ œ<br />
sold in - to strang -<br />
˙<br />
˙<br />
˙ w .<br />
˙<br />
˙<br />
œ<br />
w<br />
˙<br />
˙<br />
w<br />
˙<br />
˙<br />
w<br />
ness,<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙ .<br />
˙ .<br />
Ó<br />
œ<br />
œ<br />
˙ œ œ<br />
w<br />
˙<br />
˙<br />
w<br />
˙<br />
∑<br />
˙<br />
˙<br />
˙<br />
R<br />
I<br />
˙<br />
˙<br />
w<br />
w<br />
∑<br />
˙<br />
˙<br />
too<br />
w<br />
w<br />
˙<br />
˙<br />
∑<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
am<br />
∑<br />
˙<br />
˙<br />
˙˙<br />
sold in - to strange -<br />
˙<br />
˙<br />
w<br />
˙<br />
∑<br />
˙<br />
˙<br />
˙<br />
w<br />
w<br />
˙<br />
w<br />
∑<br />
˙<br />
ness,<br />
w<br />
w<br />
∑<br />
œ œ ˙<br />
œ œ ˙<br />
Va<br />
B b b<br />
˙<br />
˙<br />
˙ .<br />
˙ .<br />
œ<br />
œ<br />
w<br />
w<br />
˙<br />
w<br />
˙<br />
ẇ<br />
˙<br />
w<br />
w<br />
w<br />
˙<br />
˙<br />
w<br />
˙<br />
˙<br />
w<br />
˙<br />
˙<br />
b ˙<br />
˙<br />
b ˙<br />
Vc.<br />
?<br />
b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
D.B.<br />
?<br />
b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
PEL22 – 23
Fl. 1<br />
Fl. 2<br />
194<br />
& b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
S<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 />
Bn 1<br />
Bn 2<br />
Hn 1<br />
Hn 2<br />
&<br />
?<br />
b b<br />
& b<br />
Ó<br />
∑<br />
∑<br />
1.<br />
˙<br />
pp<br />
w<br />
∑<br />
∑<br />
pp<br />
w<br />
w<br />
pp<br />
w<br />
p<br />
∑<br />
sf<br />
b w<br />
w<br />
∑<br />
˙<br />
w<br />
w<br />
∑<br />
˙<br />
˙ .<br />
. ˙<br />
∑<br />
œ b œ<br />
œ<br />
œ<br />
w<br />
w<br />
w<br />
∑<br />
˙<br />
w<br />
w<br />
∑<br />
˙<br />
˙<br />
˙<br />
w<br />
∑<br />
pp<br />
œ<br />
j<br />
‰ Œ<br />
J œ<br />
pp<br />
w<br />
∑<br />
∑<br />
˙<br />
∑<br />
∑<br />
j<br />
œ ‰ Œ<br />
ppp<br />
∑<br />
∑<br />
∑<br />
Hn 3<br />
Hn 4<br />
& b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Tpt 1<br />
Tpt 2<br />
& b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Trb. 1<br />
Trb. 2<br />
B b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
B.Trb.<br />
?<br />
b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Timp.<br />
?<br />
b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Cym.<br />
ã<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
S<br />
& b b<br />
˙<br />
˙<br />
w<br />
˙<br />
Ó<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
A<br />
T<br />
B<br />
Solo<br />
Bar.<br />
& b b<br />
V b b<br />
?<br />
b b<br />
?<br />
b b<br />
Zea - land<br />
w<br />
too<br />
˙ ˙<br />
am<br />
Ó ˙<br />
∑<br />
I<br />
things.<br />
w<br />
am<br />
b ˙ œ œ<br />
sold<br />
w<br />
∑<br />
b w<br />
sold<br />
w<br />
in - to strange - ness,<br />
Yet<br />
in my heart<br />
can on - ly dis - solve, re - form,<br />
w<br />
I<br />
w<br />
p<br />
I<br />
˙ œ œ<br />
b w<br />
w<br />
too<br />
w<br />
too<br />
b ˙ œ œ<br />
in-to<br />
strange - ness, Yet in my heart can on - ly dis - solve, re - form,<br />
Ó<br />
˙<br />
˙<br />
˙<br />
˙<br />
am<br />
˙<br />
am<br />
˙<br />
˙<br />
˙<br />
œ<br />
b œ<br />
b ˙ œ œ<br />
sold<br />
in - to strange -<br />
b ˙ œ œ<br />
sold<br />
˙ œ œ<br />
w<br />
w<br />
w<br />
in - to strange -<br />
˙<br />
b ˙<br />
w<br />
ness,<br />
w<br />
ness,<br />
b ˙<br />
˙<br />
˙ œ œ<br />
˙ œ b œ<br />
Ó<br />
∑<br />
˙<br />
Yet<br />
w<br />
w<br />
˙<br />
∑<br />
Ó<br />
˙<br />
˙<br />
Ó<br />
b ˙<br />
˙<br />
∑<br />
˙<br />
Yet<br />
˙<br />
Œ<br />
œ<br />
The<br />
˙ Œ œ<br />
∑<br />
the<br />
˙ œ œ<br />
in my<br />
Vn I<br />
& b b<br />
w<br />
w<br />
˙<br />
˙<br />
Ó<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
S<br />
∑<br />
∑<br />
Vn II<br />
& b b<br />
w<br />
w<br />
b w<br />
b w<br />
˙<br />
˙<br />
˙<br />
w<br />
b ˙ œ œ<br />
˙ .<br />
˙ .<br />
b œ<br />
b œ<br />
w<br />
w<br />
˙<br />
˙<br />
b ˙<br />
b ˙<br />
˙<br />
˙ .<br />
b œ<br />
b œ<br />
w<br />
w<br />
˙<br />
˙<br />
˙˙<br />
˙<br />
˙<br />
Ó<br />
Va<br />
Vc.<br />
194 w<br />
w<br />
w<br />
ẇ<br />
˙<br />
B b b<br />
?<br />
b b<br />
˙<br />
Ó<br />
˙<br />
˙<br />
pp<br />
b œ˙<br />
Œ œ Ó œ<br />
w<br />
w<br />
w<br />
∑<br />
b w<br />
pp<br />
w<br />
˙ œ œ<br />
˙ ˙<br />
˙<br />
˙<br />
ẇ œ œ<br />
˙ .<br />
œ<br />
w<br />
˙<br />
w<br />
˙<br />
ẇ<br />
w<br />
˙<br />
˙ .<br />
w<br />
˙<br />
œ<br />
j<br />
œ ‰ Œ<br />
w<br />
w<br />
∑<br />
˙<br />
˙<br />
Ó<br />
b b ˙˙<br />
div.<br />
b ˙<br />
˙<br />
˙w<br />
˙<br />
˙<br />
D.B.<br />
?<br />
b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
PEL22 – 24
Fl. 1<br />
Fl. 2<br />
Ob. 1<br />
Ob. 2<br />
206<br />
& b b<br />
& b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
1.<br />
˙ .<br />
p<br />
œ<br />
più cresc.<br />
∑<br />
b ˙<br />
∑<br />
˙<br />
˙<br />
∑<br />
˙<br />
w<br />
∑<br />
˙<br />
∑<br />
˙<br />
˙<br />
∑<br />
˙<br />
Cl. 1<br />
Cl. 2<br />
Bn 1<br />
Bn 2<br />
&<br />
?<br />
b b<br />
1.<br />
w<br />
p<br />
∑<br />
w<br />
più cresc.<br />
∑<br />
w<br />
∑<br />
˙<br />
b ˙<br />
∑<br />
˙<br />
˙<br />
∑<br />
w<br />
∑<br />
w<br />
∑<br />
j ‰ Œ Ó<br />
œ<br />
pp<br />
∑<br />
∑<br />
∑<br />
∑<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 />
& b<br />
& b<br />
& b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
w<br />
pp<br />
∑<br />
∑<br />
∑<br />
pp<br />
w<br />
∑<br />
cresc.<br />
∑<br />
cresc.<br />
w<br />
p<br />
˙<br />
w<br />
˙<br />
∑<br />
˙<br />
w<br />
˙<br />
˙<br />
˙<br />
˙<br />
∑<br />
˙<br />
˙<br />
mf<br />
˙<br />
˙<br />
mf<br />
# ˙<br />
˙<br />
˙<br />
∑<br />
Trb. 1<br />
Trb. 2<br />
B b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
B.Trb.<br />
?<br />
b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Timp.<br />
?<br />
b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Cym.<br />
ã<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
S<br />
& b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
A<br />
T<br />
& b b<br />
V b b<br />
˙<br />
circ<br />
b ˙<br />
n ˙<br />
˙<br />
˙<br />
˙<br />
- - - ling shapes of New Zea-land<br />
˙<br />
˙<br />
w<br />
w<br />
œ œ b ˙<br />
œ œ ˙<br />
˙<br />
˙<br />
˙<br />
˙<br />
w<br />
things.<br />
w<br />
w<br />
w<br />
pp<br />
pp<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
circ<br />
- - - ling shapes of New Zea-land<br />
things.<br />
B<br />
?<br />
b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
Solo<br />
Bar.<br />
?<br />
b b<br />
w<br />
˙<br />
Ó<br />
∑<br />
w<br />
più cresc.<br />
˙ œ b œ<br />
w<br />
˙<br />
˙<br />
˙ Œ œ<br />
b ˙<br />
˙<br />
˙<br />
˙<br />
w<br />
œ œ ˙<br />
˙<br />
˙<br />
heart<br />
can<br />
on - ly dis - solve, re - form,<br />
The circ - - - ling shapes of New Zea - land<br />
Vn I<br />
206<br />
& b b<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
∑<br />
w<br />
pp<br />
cresc.<br />
w<br />
œ œ ˙<br />
˙<br />
mf<br />
˙<br />
Vn II<br />
Va<br />
Vc.<br />
D.B.<br />
& b b<br />
B b b<br />
?<br />
b b<br />
?<br />
b b<br />
b ˙<br />
˙<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 />
219<br />
w<br />
& b b<br />
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5<br />
œ<br />
w<br />
ff<br />
b<br />
b<br />
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b<br />
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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 />
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Vn I<br />
Vn II<br />
Va<br />
Vc.<br />
D.B.<br />
219<br />
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B b b<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 />
230<br />
& b b<br />
w<br />
& b b<br />
&<br />
?<br />
b b<br />
& b<br />
w<br />
w<br />
w<br />
w<br />
w<br />
˙<br />
œ<br />
œ œ œ œ œ<br />
˙ œ œ œ œ œ<br />
˙<br />
˙<br />
œ œ œ œ œ<br />
˙<br />
˙<br />
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˙<br />
˙<br />
˙<br />
˙<br />
5<br />
U<br />
n n<br />
n n<br />
# #<br />
n n<br />
n #<br />
Ritmico e con brio h = h<br />
w œ œ œ œ œ.<br />
J ‰ Œ Ó Ó<br />
w<br />
w<br />
w<br />
w<br />
w<br />
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w .<br />
œ<br />
œ<br />
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j<br />
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j<br />
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Ó Ó<br />
n ˙<br />
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f<br />
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mf<br />
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Hn 4<br />
& b<br />
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˙<br />
˙<br />
n #<br />
w .<br />
j<br />
œ ‰ Œ Ó Ó<br />
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Tpt 1<br />
Tpt 2<br />
Trb. 1<br />
Trb. 2<br />
B.Trb.<br />
& b b<br />
?<br />
b b<br />
w<br />
w<br />
?<br />
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un<br />
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n n<br />
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w .<br />
œ<br />
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Bar.<br />
?<br />
b b<br />
∑<br />
∑<br />
n n<br />
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230<br />
& b b<br />
w<br />
˙<br />
œ<br />
œ œ œ œ œ<br />
5<br />
U<br />
n n<br />
Ritmico e con brio h = h<br />
˙ ˙ .<br />
œ œ œ œ . J ‰ Œ Ó Ó<br />
3<br />
∑<br />
∑<br />
Vn II<br />
Va<br />
Vc.<br />
D.B.<br />
& b b w<br />
B b b w<br />
?<br />
b b<br />
w<br />
w<br />
?<br />
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n n<br />
n n<br />
n n<br />
n n 2 3 2 3 2 3 2 3 2 3 2 3 2 3 2 3 2 3 2 3 2 3 2 3 2 3 2 3 2 3 2 3 2 3 2 3 2 3 2 3 2 3<br />
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w w<br />
w<br />
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3<br />
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f<br />
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f<br />
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3<br />
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œ œ œ<br />
3<br />
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 />
Hn 3<br />
Hn 4<br />
Tpt 1<br />
Tpt 2<br />
Trb. 1<br />
Trb. 2<br />
B.Trb.<br />
236<br />
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&<br />
#<br />
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∑<br />
∑<br />
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 />
œ œ œ ˙<br />
3<br />
œ .<br />
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 />
˙ ˙ œ . œ œ œ<br />
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 />