Complete Piano Music Vol.5 (Preview)

Douglas LilburN Piano Music 5
VOLUME 5
Works for String Orchestra

Douglas LilburN
Complete Piano Music Edition
Volume 5

Douglas Lilburn Complete Piano Music Edition
Volume 5 (PEL05)
Chaconne (1946) © Alexander Turnbull Library Endowment Trust
‘Six Pieces’ (1964) © Alexander Turnbull Library Endowment Trust
Three Preludes (1943) © Alexander Turnbull Library Endowment Trust
Fred’s Birthday (1965) © Alexander Turnbull Library Endowment Trust
Rondino for a Birthday (c.1943) © Alexander Turnbull Library Endowment Trust
The copyrights of Douglas Lilburn’s music are owned by the Alexander Turnbull Library
Endowment Trust. Royalties from Douglas Lilburn’s music are paid to the Lilburn Trust for
the fostering and preservation of New Zealand music.
This edition © 2016 Promethean Editions Limited
Publisher: Ross Hendy
Series Editor: Robert Hoskins
Music Editor: Roderick Biss
Music Typesetter: Ben Woods
Cover Image: Leo Bensemann (1912–1986), Rain in the Paradise Garden, Takaka, 1979,
oil on hardboard, 575 x 605 mm. Collection of Christchurch Art Gallery
Te Puna O Waiwhetu. Reproduced by permission of the estate of the artist.
Photograph: Douglas Lilburn Collection, Alexander Turnbull Library, PAColl-2547-01
ISBN 978-1-877564-64-2 (print)
ISBN 978-1-77660-525-5 (eBook)
ISMN 979-0-67452-128-4
Promethean Editions Limited
PO Box 10-143
Wellington
NEW ZEALAND
http://www.promethean-editions.com
No part of this publication may be reproduced in any form or by
any means without permission in writing from the Publisher.
Promethean Editions would like to thank Creative New Zealand
for a grant made toward the publication of this volume.
rhlm

Douglas LilburN
Complete Piano Music Edition
Volume 5
FOREWORD
Douglas Lilburn biography
Editorial notes
iv
viii
MUSIC
Chaconne (1946) 1
‘Six Pieces’ (1964) 25
Three Preludes (1943) 29
Fred’s Birthday (1965) 33
Rondino for a Birthday (C.1943) 34
PEL05 – iii

FOREWORD
Douglas Lilburn occupies a pre-eminent position in New Zealand music, with a legacy extending
well beyond his compositional output. As a composer, teacher and mentor he presided in innumerable
ways over the artistic growth of New Zealand from 1940 onwards. From the early works redolent
of the influence of Sibelius and Vaughan Williams, to the electro-acoustic pieces of his later years,
his works have been instrumental in establishing a genuinely vernacular voice in New Zealand classical
music. In 2005 Trust Records launched the first volume in the award-winning recording series
showcasing all of Lilburn’s piano music, receiving ‘Best Classical Album’ in the 2005 Recording
Industry of New Zealand Music Awards and in the same year, Gramophone acclaimed that ‘[These]
performances and recordings are unobtrusively excellent.’
This edition is the fifth of eight companion volumes to accompany the recorded series and draws
on the expertise of Dr. Robert Hoskins, an Associate Professor at Massey University, and Rod Biss,
formerly of Schott London, Faber Music and Price Milburn Music, who was instrumental in first
publishing Lilburn’s piano music in the 1970s. Having worked with Lilburn directly on these early
publications, Biss has now revisited original source materials in the preparation for this series.
Together, the editors have carefully considered and clarified Lilburn’s manuscripts and early publications
in preparing these volumes as both scholarly and practical editions for performance, and
presented with the exacting and elegant house style of Promethean Editions.
This collection does not generally include juvenilia, trivia, incomplete or rejected pieces/movements.
Exceptions are specified in the notes.
Biography
Douglas Lilburn (1915–2001) grew up on ‘Drysdale’, a hill–country farm bordering the mountainous
region at the centre of New Zealand’s North Island. He often described his boyhood home as
‘paradise’ and his first major orchestral work, Drysdale Overture (1937), written while a student
under the aegis of Ralph Vaughan Williams at the Royal College of Music in London, conjures up the
hills, bush and stream as primal sites of imaginative wonder. Recalling the impression of Drysdale
Overture, Lilburn wrote: ‘I’m left with that lovely Mark Twain image of Jim and Huckleberry drifting
their barge down that great river, looking up at the stars and wondering “whether they was made, or
only just happened.”’ At this time Lilburn wrote his Festival Overture and the Sonata 1939, together
with other works that expressed national pride: a cantata entitled Prodigal Country (1939), and the
Aotearoa Overture (1940), which has become a New Zealand classic. Although these works were
written in his student years, their content, style and general confidence reveal Lilburn as an achieved
artist.
Returning to Christchurch, Lilburn banded together with an innovative group of painters, poets and
publishers who were to prove influential. Settings of Allen Curnow and Denis Glover, for instance,
resulted in two iconic works: Landfall in Unknown Seas (1942), a voyage of spiritual discovery for
narrator and string orchestra, and the song cycle Sings Harry (1953), the musings of a middle-aged
bachelor who, returning to the mountains where he grew up, begins to reassess and evaluate the
course his life has taken. Two more works, an orchestral tone poem A Song of Islands (1946) and the
Chaconne (1946), find their parallel in the regional paintings of Rita Angus.
In 1947 Lilburn joined the staff at Victoria University College in Wellington and completed several
PEL05 – iv

works that received high critical acclaim, including two symphonies, two piano sonatas, and the
Alistair Campbell song cycle Elegy (1951) – a vision of the titanic indifference of nature.
Lilburn composed the Symphony No.3 (1961), along with Sonatina No.2 (1962) and Nine Short
Pieces for Piano (1965–66), in response to a stimulating period of sabbatical leave. Masterpieces of
concentrated form, these works explore the boundaries of his instrumental writing. From this point
until his retirement, Lilburn chose to take on the new territory of electroacoustic composition.
Lilburn’s final years were spent quietly at home in Thorndon, Wellington, tending to his garden and,
until the onset of arthritis, playing his beloved August Förster piano. He received the Order of New
Zealand in 1988.
Chaconne (1946)
In the 1940s Lilburn began to seek inspiration in the South Island landscape for his musical subject
matter. His search resulted in Chaconne, featuring a resonant sixteen-bar theme and thirty-one variations.
He described this to John Thomson in a radio interview as depicting, in a stylised way, the
grandeur and iconic status of West Coast scenery, along with an emotional response to the force of
life he perceived in those surroundings:
I wanted to give some record of a marvellous walk I’d had down on the West Coast …
At about midnight in May 1946 … I suddenly felt absolutely fed up with Christchurch,
and so I caught the night train to Greymouth and arrived there at 6am on a dreadful
morning that looked like the end of the world. But I walked a bit down the coast and
there I could see Mounts Cook and Tasman shining in the distance, and I thought, aha,
I’m going there. It was an absolutely incredible walk because in those days the original
roads were still intact and they took their time getting up hills, winding round corners.
There was dense bush a lot of the way, full of bellbirds in that season and of course the
roads were bounded by those huge banks of ferns and moss – full of colour. It meant a
great deal to me.
The curve and grain of the music create an impressive physical space and when the expatriate New
Zealand pianist Peter Cooper recorded the work in 1954, Lilburn wrote to him ecstatically (Douglas
Lilburn to Peter Cooper, 16 December 1954, Alexander Turnbull Library MS-Papers-7388-38):
From the first notes of the prelude there was a shock of excitement at the sounds you
were making and the way you dealt with the rhythm of those groups of notes, the kick in
the middle of them I mean which gives the life to them. It was exactly right, all of it, and
so was the little one that came next. And after hearing those two can you imagine how
I held my breath and waited for the chaconne to begin … And, Peter, that was exactly
right too, the quality of sound I’d always imagined it should be, and the rhythm moving
nicely with just the right weight and breadth to it. And so it was to the end … it struck
me you gave the final two pages some curious legendary quality, which I hadn’t heard
in them but which pleased me too. It was grand for me to hear all the brilliant bits …
they made the right wash of sound, or glittered as I hoped they might, and the octaves
and their rhythm has just the jagged vivid sound I’d hoped for.
Chaconne opens with a carefully crafted theme that, as Michael Houstoun explains (Michael
Houstoun to Robert Hoskins, 17 March 2010), requires a special dynamic balance of the macrocosmic
and cellular elements in performance:
PEL05 – v

The pianist who takes on the Chaconne will have no technical problems in the opening
bars. It is, by any measure, easy to play. Full attention can therefore be given to purely
musical concerns. Because the opening bars are the basis for the whole work, all the
elements contained in them must signify. This is simply a question of consciousness, of
identity between the pianist and the music. Probably the main danger here will be the
temptation to overplay, over-dramatize. But a mature musician will trust Lilburn to
keep things simple.
Margaret Nielsen, in a lecture she delivered at Massey University in 2003, observed Lilburn was
an able pianist who played Bach, Haydn, Beethoven, Schubert, and Chopin on a daily basis: ‘When
playing Lilburn’s piano music, I’ve always had the feeling that it has been composed by someone
who really knows how it feels to play this instrument, and who understands just what the piano can
give back to the pianist.’ With this statement in mind, Chaconne might be heard as Lilburn pledging
allegiance to the piano repertory, reaching back from Ravel and Rakhmaninov through to Bach.
Certainly, one can hear the intonations of the European tradition that inspired this work, for example
Beethoven’s Thirty-two Variations in C minor and the Chaconne in Bach’s Partita in D Minor for
solo violin, BWV 1004, which Lilburn says (in a written tribute to the violinist Maurice Clare) he
copied out ‘trying to emulate the wonderful rhythmic flow of Bach’s imagination, reminding me of
older Chinese paintings of rivers, and so humanly expressive’. If Bach’s violin figuration (doublestopping,
open string passagework, point-of-bow rhythm and string-crossing broken chords) seems
to have inspired Lilburn’s piano writing, we also know that he explored the process of the chaconne
in Brahms’s Fourth Symphony and ‘St Anthony’ Variations with his students. The arch-like design of
Chaconne is marked by the symmetrical return of the opening statement at the middle and the end,
and Lilburn groups some of the variations in pairs to provide a sense of middle-ground coherence.
‘Six Pieces’ (1964)
There is something Bartókian about the way the music observes eternal metamorphosis at work –
even in the space of a few bars.
Three Preludes (1943)
Andante ma con moto
Allegro con brio
Adagio ma non troppo
These pieces are dedicated to Frederick Page, a pianist and champion of Lilburn’s music. Page
mounted the first concert entirely devoted to Lilburn’s music in September 1943 and this set may
have been composed in gratitude. The first has a tinge of Schubert, the others of Rakhmaninov.
Fred’s Birthday (1965)
This wacky piece was composed for Frederick Page; it spotlights Page’s personality as an extroverted
advocate of contemporary music and Darmstadt. One can almost hear a skew-whiff version of the
tune ‘Happy Birthday’ even though it is not directly quoted.
Rondino for a Birthday (c.1943)
This piece, composed for Lawrence Baigent, ends with a roosterly voicing of the ‘Happy Birthday
to you!’ motif.
PEL05 – vi
Robert Hoskins, Palmerston North, 2016
The first page of the composer’s manuscript of Chaconne.
(Reproduced by permission of the Alexander Turnbull Library, Douglas Gordon Lilburn Papers fMS- Papers-2483-010)

Editorial notes
Chaconne (1946)
The copy-text of this edition is Lilburn’s holograph
in the Alexander Turnbull Library (fMS-
Papers-2483-010) published in facsimile by the
University of Otago Press in 1972, with reference
to the Waiteata Music Press edition published in
2005.
Trill signs: Lilburn writes trills with a wavy extension
line following the ‘tr’, we have, however,
dispensed with the wavy line in accordance with
house style.
Accidentals: A constant feature of the Chaconne’s
harmony is the number of semitonal clashes, in
particular between GÍ and Gˆ. The editors have
added a cautionary natural to the G in bar 5, but
from that point on the performer should assume
that accidentals apply only to the bar and at the
pitch where they occur.
Grace notes: Lilburn writes grace notes that occur
on the first beat of the bar before the bar-line. We
have moved them to the usual position after the
bar line, however, it is clear from Lilburn’s notation
that the grace-notes anticipate the beat on which
the main note is played.
5–6 Slur on RH lower voice added.
98 RH slur added.
112–115 Lilburn places a ° sign under the second
beat of bar 112, however, he does not indicate
where the pedal is lifted. It seems likely
he wanted it held to the end of bar 115 as
in our edition.
122 Slurs on second two groups added.
124 Slurs added.
315 Final semiquaver LH is amended to EÏ/F
from D/EÏ in the holograph.
337–441 In these six bars Lilburn has indicated
only one pedal mark, down at the start of
336 lifted at the end of 337. He has, however,
added hangover ties to the semibreve A’s
in 337 which indicate that he wants those
low notes to be heard through the following
bar. Although there is no pedal mark in the
holograph for 339 it is clear from the music
that the same effect is intended for 339–40.
371 The BÍ on the third beat of the RH has
been queried by some performers who
believe that Lilburn intended a CÍ, however,
we have retained the holograph’s BÍ in our
edition as it seems to the editors to be in
keeping with the patterns Lilburn has established.
498 Whole bar rest added.
‘Six Pieces’ (1964)
The copy-text for this edition is from a folder
of holograph piano pieces and sketches
in the Alexander Turnbull Library (fMS-
Papers-2483-052); the order of these pieces conforms
to the Trust Records recording.
Time Signatures: In Pieces 1 and 2 Lilburn does
not give a time signature, however, the grouping of
notes and position of barlines will give performers
a feeling for the pulse of these two pieces. In Piece
6 the holograph has time signatures above the
stave which indicate the frequently changing pulse
of the piece. They do, however, seem to contradict
Lilburn’s own ‘with freedom’ instruction and may
well have been an afterthought added in response
to a query from Margaret Nielsen or Frederick
Page. We have omitted the time signatures.
Piece 1
Hangover ties added at barlines 3/4, 7/8/9,
11/12/13, 23/24/25, 28/29.
Piece 3
24 Lilburn has written πƒ which is technically
impossible on a piano. We have changed it
to the more likely ƒπ.
Piece 4
26 πƒ change to ƒπ.
PEL05 – viii

Piece 6
4 L.H. tied crotchet added as in bars 1/2.
Three Preludes (1943)
The copy-text for this edition is Lilburn’s holograph in
the Alexander Turnbull Library (fMS-Papers-3903-07),
with reference to a second holograph in the Alexander
Turnbull Library (fMS-Papers-7369-1).
Prelude 1
2/3, 13/14, 54/55 R.H. slur added as in bar 1.
Prelude 3
The holograph has the instruction ‘gravely but with feeling’
written between the staves. As it is not in Lilburn’s
but in Frederick Page’s hand we have omitted it, nonetheless
it seems probable that Lilburn would have been
aware of the addition.
Fred’s Birthday (1965)
The copy-text for this edition is Lilburn’s ink holograph
in the possession of Rod Biss (bearing the inscription
‘Frederick -/Das allerkleinste Stücke/für Ihr Geburstag -/
Douglas’ [‘The tiniest piece for your birthday’]), with reference
to a ballpoint holograph (entitled ‘Fred’s Birthday’
without the dedicatory remark) in the Alexander Turnbull
Library (fMS-Papers-2483-046/06).
Rondino for a Birthday (c.1943)
The copy-text for this edition is Lilburn’s holograph in the
Alexander Turnbull Library (fMS-Papers-3983-4).
In measures 3 and 4 there are staccato dots over the quavers
and a slur over the four semiquavers and crotchet
of measure 4. It is most likely that Lilburn intended
this melodic idea to be played the same way in its many
appearances through the piece and we have added dots
and slurs accordingly.
Rod Biss, Auckland, 2016
Publisher’s note
In the early 1940s Douglas Lilburn established what become lifelong friendships with a number of artists, writers
and poets in Christchurch who, along with Lilburn, were instrumental in establishing a genuine vernacular for the
arts in New Zealand. Notable among this circle were Lilburn’s close friends and fine artists Rita Angus and Leo
Bensemann, both of whom shared an exchange of artistic influence with Lilburn. Care was taken in the Recorded
series to present Lilburn among his contemporary artists with each volume featuring a selection of Bensemann’s
landscape paintings on the cover along with paintings by Rita Angus inside the full-colour booklets. Similarly,
we have chosen to feature Bensemann’s Rain in the Paradise Garden, Takaka on the front cover of our series of
publications to provide a sense of unity with the Recorded series. We therefore acknowledge the generous support
of the Bensemann Estate.
The Publisher also gratefully acknowledges the assistance from the Alexander Turnbull Library, Rod Biss, Guy
Donaldson, Claire Harris, Dr Robert Hoskins, Michael Houstoun, the Lilburn Trust, Massey University, and the
HRL Morrison Music Trust in the publication of this edition. This fifth volume of the edition has been funded
by Creative New Zealand.
Promethean Editions, Wellington, 2016
PEL05 – ix

PEL05 – x

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C C C
C C C
59
!
ṯ
S
W C C -
# C ṯ Y
C-
X C C -
B
B
CC-
T OO k gi
C
f
T OO kgi
G
t W
C C- C W C
t
C-
C
C
G
I
C C W C C C
W C C C W C
I
W
W -
t
C-
G
W
C C
I
W C C C
63
!
#
WW CC
C W
mp
-
W
t
W C-
W
BBO
O
p
t
W B-
#
IV
WW -
X
pp
W C C W ĊC
W T T g
W .
X C Ċ C C - C CC
W C-
W CC W W C-
X
W C C W ĊC
!
X C Ċ C C - C W CC CC
g
C.
C-
67
#
W -CC-
X C C C W ĊC
X C Ċ C C- C CC
W CC W C- X C C W ĊC
X C Ċ C C- C W CC CC W CC
X C C C C C W CC
X
!
W CC CC X C
!
S # T g
W .
W C-
S
!
T g
C.
C-
#
g
C.
C-
g
C.
70
! C C W CC
#
C-
X
!
W CC CC X C C C W CC
g
C.
X
CCCC X C CC C C C CC C C C CC C CC C C C C C C C C C
C- W C C C C C C C C C C C C W C C C C C C C W C
T
#
PEL05 – 3

h
h
T
h
T
S
T
h
T
T
73
! S
C W W C
C C X C
W C C C C W C
C CW
C
W
W C
C C C W W CX
C
X C
W W C
C C C
X C
W C
C C C
W C
C C
76
#
C
! W C
#
79
!
C
W C C C C C CW
C
W
! W CCC
83
! T
!
88
!
#
93
!
#
97
!
#
W C
C C C W W C C C W C W C C C S C W W C
C
X C W W C
W C
W C
C
C
C
C C X C
W C
C
C
C
C
f
C
C
C
C C
!
C
C C W C
C CX
CW C C C X C W W C C C T CX
CW
C
C
C
C C X C
p
C C C C C W C C C C C C W C
W C W
W C C C C W
W C W C
C C C C
X C
X C
T C C C
B-
S T C g
C
C C W C
CW
C
WW
C C C C T
CO
CO
C
C C CW C
W C C C C
C WW C
C
C
C
C
C
W C C C X C W
C C C
V
W
W C W C C C C C W
W C W C
C
W C
W C
C C X C
C C C C C
W C
W C C
C C C
C C C
W C W
W C C C C W C W C
C C C
S S T C C
C C C C C
C
C CW C C
C
W
poco rit.
B-
dim.
C
C CX
CW
C C C
C C C h
C
WW
CW
C
pp
#
W B
W B
C
a tempo
G
W C
W C W C
CW
C
CW
C
W C C C
W C C C W
C C C C C C W C C C C C C
p
C B-
S S T
C
!
C
C
C C C C C
C C
W C
X C
C W C
C W C
pp
S B C B B
W CO
C B W CO
VI
W W C W W W W C XX W C C C Y CY
CC
C C C C X C C
C Y
C C C
C espressivo
C C
C C
C Y C C C C C C Y C
Y C Y C
Y C
g
W C
!
W C C WW C
W C
W C
C
C
C
C
X C- C -
!
W C
W C
W C
W C
W W W C C C
W C- W C
#
X C
Y C
C
C
C
C
C
W C
C C W C W C
W C W C
#
#
PEL05 – 4

C
C
C
C
C
CCC
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
g
C
C
C
C
g
C
C
C
C
C
C
C
C
C
C
CCC
C
C
CCC
C
C
C
CCC
C
C
C
C
C C
C
C
C
C
C
C
CCC
C
CCC
CCC
C
C
C
CCC
CCC
CCC
C
C
C
C
C
C
C
C
C
g
C
C
C
C
C
C
C
C
CCC
C
C
C
BBB
CCC
C
C
T
CCC
C
C
CCC
C
C
C
C
101
!
#
W C C C W CC
W
W C C W C V CC
W C C C W C
C C X C W CC
W
W C W C
W
W
X C C
C
C
W - W C
C
C
C
C
cresc.
W
W
C
W C C C
C CC
X C C W
C - g W C
W
W W C C
C
C C
h
X C C C
W C
!
W
W
W
mf
W - W C
CC
C
X C C C
105
!
!
W W C C
W C
p
X C C
#
W C C
W C C C C C
X X C C
X C
CC
C
W CC C C C C
CC
C
CC
C
Y C C
Y C
Y C C C C Y C C Y C
Y
Y
Y
CC
C
!
CC Y C
C CC
Y
C
CC
X C - C -
W C
WW CC
C C C C C C
#
C W C W
C - C
C C
C C
W
109
!
C
X C
CC W C
W C C W C V CC
C C X C W CC
W C C C CC
V W C C
W C
CC W C
W W C C C
W
CCC W C
W W C C
#
W C C C W C
W
W
W C
W C
!
W - W C
X C C C C W C C W C
W
W
W
W C. C .
X C. W C. W C .
VII
113
G G G
G
! W C W C W C C C C W X W C C X C W X C C W C C W C W W C C C W X W
G G
G G
pp
! Q Q
G
C
C X C
G
W X C C W C
115
! W C
W
G
W C C C C W C
! Q
W
G
G
C C C
G
C C W C X C C C W C C W B
t W C W C C C C C W C
W OO
W OO
t Y
C C
I
117
!
!
W C
C W
C
C
CCC
TUU
C W C
I
O
B
B
W C C C C W C C C C W C C C C W C
O B O
BBO
t W
mf
C C CC OO CC
W g
C C
OO
W C
dim.
OO
cresc.
#
CC
PEL05 – 5

h
g
T
T
T
h
T
T
T
119
!
#
W
C C C C C
J
COO
C T
C
#
f
t W
B
B
!
CW C C C C
I
!
CW C C C
I
C
eva
CW C C C C
C C C C C C C C C C C C C g
I
f
C
BO
t W >
eva C
COO
C C
h OO
#
C-
!
122
! C C W C
C
C
C C
W C C
CW C C C C C B
O
t W
!
C> C C marcato
C> C C W C CW
C
>
C g
C
>
C OO OO
eva
C
C
h
#
C-
!
124
! C C eva C
C C
C
C C
W C C C C C
C C C
C
C C C C C C C C C C
!
C> C C C
C C C
C C eva
C > W CW C C
CW
CW C C
> > > W CW C C
C>
126
!
!
128
!
!
130
CW
C
>
W
W
B
t W
>
COOC
C C
G
! C CW
C
!
W C
W CW
C
evaW
COO
W C
W
I
C C C C
C
#
CW
C
C
>
C
W C
W COO
CW
C
G I
C CW
CW
C C C C C
C C-
W C
W C C
W C -
#
C
W
CW C C C C C W C
C
VIII
C
C W
G
f
W BO
-
W C-
C
C-
W C CW
C
>
W
g
W C
C
C
W W BO
t W
W g
W C
>
COOC
C C C C C
C C CW
C C C C C
g
I G I
W C
W C W C
!
CW
C
W BO
-
G
W
!
C
W
C C C C
g
C
I
C CW
C
W C
G
W
C
evaW
C
W C
C C W C
C
C C C C
I
G
W C
#
COO W -
W C
!
C W W C
C C C C
I
C
C CW
CW
C C C C C C
G I
W C C W C
PEL05 – 6

g
h
g
g
g
h
h
h
T
h
g
g
132
!
!
W C
CW
C
G
W C
W
G I
C C C C
C CW
CW
C C C C C
I
W C
# W C
C
C
#
C- W - W C
!
CW
C
T
W C C W C-
C- BO
C -
G
!
C C C C C
W
g
C
I
C CW
C
C
G
W
C
C C C C
I
C CW
C
G
W C C C
C C C C C C
I
134
! CW
CW
C
G
! C
W
C C C C
C
I
#
G
C CW
C
I
C C C C C
W C C C
G
C CW
CW
C
W C
I
C C C C
C
C
C
G
C
C C-
C CY
C
I
CW
C
X C
C
G
C
W C
C-
I
C C C CW
C
X C
!
#
g
C
C
G
C
C
W C
C-
CY
C
I
CW
C
X C
136
C
C
G
C
C
W C-
CY
C
I
CW
C
X C
C
G
C
C
#
C-
W C C C
G
I
C C CW
C
X C
g
C
C
C C C C
I
C
137
#
mp G
#
C
W C
C
C C W CX
CY
C C
I
cresc.
CW
CW
C
!
C
C C W CX
CY
C
I
!
g
C
CW
C
C C W C
X CY
C
C
I f
mp
#
W C C CW
CW C C T T Y C
g
Y C-
C
#
C- C -
sost.
C
C-
139
#
#
C
G
C
C
C C CY
C
I
Y C
!
C C g C C CY
CY
C C C
CY
CY
C C
I
I f
W C C !
CW C C C C W C C C T T
g
C
cresc.
C C
#
#
C-
mp
Y C
g
Y C-
C-
sost.
C
C -
!
PEL05 – 7

T
h
h
h
h
T
h
h
h
h
141
!
#
W
C W C
G
BO
BO
C
!
Y
W
C
g
C
C C CX C C W C
I
G
C
C
cresc.
C C C C
W C C W C C Y C
I G
W C C C
C C CX C C W C
I
G
C
C
W C
W C
C C C
W C
I
#
! C
Y CX
CW
C C
#
C C W C
C
I
!
I
CW C C C
W C
Y
C
CW
C
I
CW
C
eva
W C
143
C
W C
W C
f G
W C
t Y
CY
C C C C X C
Y C
I
dim.
W C C W C
G
W C
W C C
G
C
CY
C
C
C C C
Y C
I
144
!
!
t Y
C
G
C W C
W
C
#
W C
W
C
G
C
I
CY C C C C
Y
W C
C
ten.
t Y
C
G
C W C
W C
#
IX
C-
pp
W C-
W C-
C
O
CO W -
!
W
!
C
W
C
C C C C
W
B # C - C- CO
C
C
C
#
C
C-
C C- O
!
W
!
C
C
148
!
W
C
W B
#
W C- C
O C- O C
!
W
C
W
C
W C
C C C W C
C-
C
B-
B
!
C C C
C C
C
#
C
C-
O C
O C -
!
C
C
C C C C
C
#
C C C
C C C
C
C B
153
! S S T
W g
W C WW C C C W
W W C
C
pp
t
#
W t
C B C ! W C W C
C B C
C
WW C
W C
C
#
C
B
T g
W C
W C
C
C W W
W C
!
t
W C
C W W C
W C
t W
C
WW B
W C
W
C
#
W CO
W CO
WW
eva
C
!
pp
W C
158
!
!
{eva}
WW C
W
C
W W W C
W C C W C
W C
C
W C
#
W W C
W
C
W
C
WW C
C
W C
W C C W C
W C -
W C
W C
Ḇ
B
!
BO
B O
B
X
pp
W W C
W B-
B
O
COO W OO C
C
W B-
PEL05 – 8

C
CC
C
CC
C
CC
CC
C
C
C
C
CC
C
C
C
C
B
C
C
C
C
C
CC
CC
h
g
C
C
C
T
T
C
C
CC
C
CC
C
C
C
C
S
C
T
T
C
igk
C
C
C
CC
jhl
C
CC
C
CC
C
Ċ
S
S
Ċ
C
163
!
!
W
BB
B
C
C
BBOO
W
C - W OO
W
W B -
W p W CCC
O B O
BBO
BBB
W B
# C
W B
#
! CC C
W B
OO
OO
mf
CC
C-
C-
CC
CC
C-
C-
CC
CCC
B - WW
BB
CC-
C
CC W C
169
!
#
174
!
!
W C OO
W
f
OO
W CCOO
CCOO
W OO
#
#
#
W
C C C
C C
C
C
C
CCOO
OO
OO
OO
CCOO
OO
OO
!
!
!
!
C
CC
W C C
C
CC
W CC
C
CC
W C
C
C
CC
W CC
C
CC
W C C
W
W C
C
W C
W CC
C
CCC
W CC
C
C C C
C
W CCOO
C OO
W OO
W C
XI
#
#
W
C
C
CCOO
OO
OO
!
!
C
CC
W C C
Tempo poco più vivace
C
CC
C
C
C
CC
W C C
W C
C
W C
W C C
W CCOO
CCOO
W OO
#
#
C B B
C B
B
g
C
C > C C Wmp C C C C C C C C W C C C
deciso
#
B
B
B
B
!
!
178
! C C C C C W C C C C C C C C C W C.
#
B
B
B
B
Ċ Ċ C
!
W
C C C W C C C C C C C
#
B B
!
W
W C C
C C
#
B
B
C C C W C
cresc.
!
182
!
!
C C C C C C C C C C C C C C C
W CC
C W C
C C C C
#
C
C
CC
C
C
C
CC
C
C
C
CC
C
C
C
CC
C
C
C
sf
C C C C
M
C C C C C
>
g
C
B B
g
C
C C W C
mf
C C
!
185
!
C C C C C
g
C
C C W C
C C C C C C
g
C
eva
W C C C C C C C W C.
!
#
B
B
dim.
!
C C
CCB B
B
PEL05 – 9

TU
C
CĊ
C
C
C
C
C
C
C
CC
C
C
C
C
C
C
C
C
C
C
C
Ċ
Ċ
C
C
C
C
C
C
C
C
C
C
C
C
C
CC
C
Ċ
C
C
C
C
C
C
C
C
C
C
CC
C
C
C
C
C
C
TU
CC
C C
C
C
C
C
C
C
C
C
C
C
C
TU
CC
C
C
C
CC
C
C
C
C
C
CC
C
C
h
h
h
h
C
T
T
C
188
!
!
{eva}
p
W
C C C W C C C C C C C
ĊCC
CCC
C C
W C
C W
C C C W C C C C C C
CCC C C C C
C C
W C
C W
C C C W C C C C C C C C C C C
CCC C C C C
W
CCT
192
!
!
XII
{eva}
O
O
p
W O
W
Ċ
C
>C
C Ċ
C
Ċ
C
Ċ
C
Ċ
C
W C > W C . Ċ Ċ Ċ
W . W .
W W
W C . Ċ
O
C O C
W . O
C
C
C
C
C
W . W .
W W
Ċ
C
C C Ċ Ċ W C .
X
O
C O C
O
Ċ
C
>C
C Ċ Ċ Ċ Ċ Ċ Ċ
C C C C C C
Ċ
C
Ċ
C
C
C C
Ċ C > cresc.
Ċ Ċ Ċ Ċ Ċ Ċ Ċ Ċ C
f
W C # C
C C C
I
W
!
C C C
W
196
!
!
eva
O C C-
Ċ Ċ C C C C W
C W C
O C C C C C C C W OW
C W C
C C C C C C W O C C C C C
C C C C C C W O C C
C C C C C C C
C C
C C C
C C
C C C C C C
C C C C
W O
W
C C-
Ċ Ċ C C W C C C O C C dim.
C C C C W C C C O C C C C C C C C
C
C C C C C C C C C C
#
#
200
#
#
204
!
#
O
mp
C
C
C
C
CC
C
!
WW CC
W O C
f
OW C
O
CC
C
CĊ
C
CĊ
C
CĊ
C
# BḆC
!
CĊ
C
CĊ
C
C
W CC
C C C C
CC C C C C C W CC C C CC
W
W C C
CĊ
C
C C
U T
W
O
C
CC
!
C
CC
W BḆ
C
CC
CC
C
C
CC
Ċ
CC
C
CC
W W C C C C
C C C C.
Ċ
CC
C
CC
C
CC
W .
W
C
CC
Ċ
CC
Ċ CC . C
Ċ Ċ C X C
CCO
#
Ċ
CC
C
C
C
CC
!
W -
W .
W W
C
C -
C
CC
B-
B
Ċ
C
C. C.
C
C
C
CC
C
CC
C
CC
C
CC
cresc.
C
CC
CCO
#
C
C
C C
C
C C
C
C C
C
C C
C
!
C
CC
C
CC
CC
C
CC
C
W C CC- C- C
W C C C C C
C C C
W C C C C C C C C C C C
C ! CC
W C
W C
C T
CC
C
#
#
208
!
#
W
XIII
p
B
B
C C C C
W C C C C
!
W C C C
C C C C W C
C C
C C
C C C C C
C C C C C
W
C C
C C
W C C C C C
W C C C C
C C CC C
C C
C C
C C C C
W C C C C
C C
C C
W
C C C C
C C C
#
PEL05 – 10

C
C
C
C
C
B
B
C
C
CC
C
C
Ċ
C
C
C
C
C
C
C
C
C
C
C
h
C
C
C
C
C
T
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
h
C
C
C
C
C
C
C
C
T
C
C
C
C
C
C
C
C
C
C
C
C
B
B
C
C
g
C
C
C
C
Ċ
C
T
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
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C
C
C
Ċ
C
C
C
h
Ċ
C
C
C
C
Ċ
T
C
C
C
212
!
#
215
!
!
218
!
#
221
!
#
224
!
#
228
!
#
231
!
!
W
C
C
W C C.
O
O
W C
C C
B
B
dim.
C Ċ W ĊC ĊC W Ċ C Ċ C Ċ C
Ċ C
Ċ Ċ Ċ C C C
W
C C
W C
C C
W C
C C C C C C C C C C
!
W
W
C C
C Ċ ĊC ĊC Ċ C Ċ C Ċ C
Ċ C
Ċ Ċ Ċ C C C
#
W
W
U T
W C C.
C Ċ W ĊC ĊC
W CĊ Ċ C Ċ C
Ċ C
Ċ Ċ Ċ C C
poco cresc.
C Ċ Ċ
! Ċ C . C . C . C . C . C
p
B
B
W
C C
W
W
C C C C C C
W . C . C .
C C C C C C C C C C W C
C C
C C
!
W
W C C C C
C C C C C
C C C C C
C C C C C
dim.
#
C C C C
W Ċ
C Ċ
O
C
C
W
C C
C Ċ ĊC ĊC Ċ C Ċ C Ċ C
Ċ C
Ċ Ċ Ċ C C C
C. C . C . Ċ Ċ Ċ Ċ C . C . C . C
W C C C C C C C C
C C C C C W C
C Ċ W ĊC ĊC Ċ C Ċ C Ċ
#
C ! C. C . C. C. C
C . C . C. C. C. C. C. C
XIV
C C C C C W C C C C C C C C C W C C C C C C C C W C C C C C C C C C W C.
p deciso
#
C C C C C
C C C C
!
!
C
C C C C C
C
W C C C W C
W
mf
C C
CCCC CC
C C
C C C
G
W
!
W
W CC
W C C C C C C C
C C C
I
C C
C C
g
C T g
C
C C C W C C C C C C
poco cresc.
W CCC W
CCCC CC C
G I M >
C W C C W C
W W C C
f
T # C W C W C C C
C C
g
C
W
B B
W
g
C
W
C C
Ċ
C
Ċ
C
#
C
poco cresc.
C C
C C C W C
C C
C C W C
CCCC
dim.
#
!
PEL05 – 11

C
C
B
B
C
C
C
C
CC
C
C
C
CC
CCC
CCC
C
B
B
B
BB
C
C
C
C
C
C
C
C
C
C
C
B
C
C
CCC
B
BB
C
C
C
h
C
BB
B
C
C
C
C
C
C
C
C
B
C
C
C
C
C
B
CCC
C
C
C
C
C
CC
B
B
C
C
CCC
C
C
C
C
233
!
! W C C
C C C C C
W BB B
g
C
C C W C C C C C C C C
W C C
g
C
C C W C C C C C C C C W C . Ċ Ċ C
W B B W C C
B
p
W B W C C
C C C C
W
CCCC
237
!
!
W
C C C C C
W
C C C
CCCC W C C
C C
W C C
XV
C C C C C C C C C C C C C C O
CCCC W C C
C C
pp
CCT S OO C C
W C C -
#
C C
C
C
C
O
!
242
!
BBO
O
O
CC
C
C
C
C
C
W O
C
CC
C C
W C C W CC
W
WW
O
C
CC
C
C W C
C C W C
BBOO
C
CC
C C
W C C W CC
!
OO C C
W C C-
#
O
!
OO C C
W C C-
#
O
!
OO C C
W C C-
#
O
!
OO C C
#
C- O
!
250
!
!
256
!
BBOO
OO
XVI C
OO
OO
C C
C
B
B
C
C-
#
C
CC
O
C
C
C
CC
C eva
W CC W B
W B BB
C
C
C
C
!
OO
CCOO
OO
OO
C
C
C
C
C
C
B
B
W CCC C
#
C
C
CC
C
B
B
WW CC
W C
C
C
CC W C
C
C
C
C
C
C
WW C
W
C
C
CC
C
poco cresc.
OO
OO
C
C
C
C
B
B
CCOO
OO
CC OO
OO
CC
C
CC
C
CC
C
CC
C
CCC
W C
C
C
C OO
C OO
C
C
CC
C
C OO
C
CCOO
mp
CC
C
C
C
#
CC
C
!
C CCOO
CC
C
CCC CC W C
cresc. poco a poco
#
CCOO
OO
OO
CC
C
CC
C
!
C CCOO
CC
C
CCC CC W C CCC
#
CC
C
!
Y OO
CCOO
CC
C
CCC CCC
#
CC OO
OO
CC
C
262
!
#
CC
C
OO
OO
!
C
C
B
B
Y OO
CCOO
CC
C
C
C
C
C
C
C
CCC CCC W CCC
#
W CCOO
f
C
CC
C
C
!
B
B
OO
OO
C
C
C
C
eva
C
C
C
C
CCC C
C
C
C W CCOO
W C # C C
C
C
!
B
B
OO
OO
C
C
C
C
eva
C
C
C
C
C
C
W CCC
#
PEL05 – 12

CC
C
h
CC
CC
CCCC
CC
CCC
BBBB
CC
C
g
CC
C
h
CCC
T
T
CC
C
C
C
C
Ċ
C
C
C
C
C
C
C
g
CCC
C
g
CC
C
T
T
C
C
C
C
S
h
T
T
CCCC
C
h
T
h
CCC
h
C
C
C
C
C
C
Ċ
C
C
igk
C
C
igk
C
C
C
C
C
C
CC
Ċ
C
C
C
Ċ
268
!
#
272
{eva}
CC CCOO
C
C
g
! W C C
C
#
!
XVII
W C T
WW OO
T
g
C
C > C C
B
B
CCC C CC W C
W C C C C C W CCOO
f C C C C C C C C C
B
B
#
CC OO
OO
CCC
C
CC
C
WW
C C C
W
CCC
ff
W C C C C C C C W C C C C C C C C C C C C
!
C C
#
BBC
! C
C
CC
C
C
C
C
C
W C C C
C
eva
C C C C
CCC
C
C
C
Y C
C C
Y C
C W CCOO
U T
U T
CCOO
OO
OO
O
O
#
C
C
CCOO
OO
W OO
C
C
C C Y C
Y CC C C
Y B
Y B
277
! C C C C C
C C C C - C C C Y C
C C C C C C C C C C C
C C
C C C C
C
#
C
C
ĊCh
C-
C
C
C
C
!
CC
C
CC
C
CCC
C
CC
C C C C C C C C g
C
BB
B
#
M
C C C C C
C C C
>
C C
g
C
B B
g
C
C C
W
f
C C
!
281
!
!
C C C C C
#
B
B
g
C
C C W C
C C
!
eva
C C C C C
g
C
C C W C
dim.
C
CCB B
C C C C C C C W C C C C C C C C C C C Ċ Ċ Ċ Ċ
C C W ĊC
ĊCC
W C.
C
Ċ Ċ
285
!
!
{eva}
C C C C C C C C C C C C
CCC W
CCC
W C
C W
C C
C C C C C C C C
CCC
CCC CC C
C C C C C C C C
p
W CCO C O T W C C
XVIII
O
O
leggiero
Ċ ĊC W C
C C CCC.
#
289
!
#
W CCĊ
.
W CC
C.
C
.
C
.
. -
W
-
!
W C
O
W
O
Ċ
W ĊCC W ĊCC
C C C CC C.
#
#
W CC
C.
W C.
C W C . C W CC- T T
C.
C.
g
C-
!
f
C
C
W C C W C
I
W C T
!
C-
C
g
C CC
g
C CC
g
C CC
W W C C C C C C
PEL05 – 13

C
C
T
C
C
T
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
T
C
C
C
C
C
C
C
C>C
h
C
C>C
C
C
CCC>C
h
C
h
C
C
T
CC
h
C
T
C
CC
T
C
T
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
T
C
h
T
C
C
h
C
g
C
C
T
C
C
C
h
C
C
C
C
T
C
C
T
C
C
C
C
C
C
h
C
C
C
C
C
C
C
C
h
C
C
T
C
C
C
C
C
C
C
C
C
C
C
C
C
T
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
h
C
h
C
C
C
T
C
C
T
C
C
C
C
C
C
C
C
C
C
C
C
C
T
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
293
!
!
W C C W C
I
W C T
C
W - W W C C
C
g g
C C C
C
C
C-
C
C
#
C C
W
I
C -
!
C
W C
C C
g
W
C
C
W C
C
C-
C
C
#
#
G
CC
C
G
G
C
C
G
C
C
G
C
C
C
G
W
296
#
#
298
#
#
O W Ċ
C ! W O
ff p
O
W C
W O
.
W
300
! T
#
ff
f
C
C
O
W
W C .
C
OW C.
W C C W C
I
!
W O
W
p
W O
W C T
!
C-
C
C.
W C .
!
W W C C
W C . T X C C
W C.
g
C CC
!
g
C CC
WW CC
g
C CC
X C W C
Y
I
I
W
W W C C
WW CC
W C C C W C
W W C C C C C C C-
W C C W
C C
C
I
g
C
C
W
C C
I
Y
W
I
C
C-
g
C
I
C T C C W C
W W C C
h
C T
WW CC C > C
C
C
CCC T
#
ff
CC
C
W
cresc.
I
Y C C
W
I
C C
W g
C
I
C C C C
#
W
>CC T
!
C-
C
C C C C
Y
g g g
W C C C
C C C
C C C
C CC C CC C CC
C C
#
#
303
!
!
C
C
W
I
C C
C
C
g
W C
XIX
C W C
W C > p
T W C C
W C
#
W C
#
W C
!
W C
!
W C W
W C W
306
!
!
W C
W C
W C
#
W C
#
C C ! W C C
!
C
C
C C C C C
C
W C
W C
W C
#
W C
!
W C
W C
PEL05 – 14

C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
T
C
C
C
C
CC
C
C
C
C
CC
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
T
C
CC
CC
C
C
CC
C
CC
T
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
T
C
C
C
C
C
C
C
C
CC
C
C
T
C
C
C
C
C
C
C
C
C
T
C
C
T
C
C
C
C
C
C
C
C
C
C
C
CC
CC
C
C
C
CC
C
C
jh
C
C
C
C
C
CC
C
C
C
C
C
U
C
C
C
C
C
C
T
C
C
C
C
C
C
C
C
C
C
CC
C
C
T
T
C
C
CC
C
C
C
CC
C
C
C
C
C
ig
CC
ig
CC
C
C
C
C
C
C
C
C
C
CC
309
!
!
312
!
!
p
W C
W C
#
W C
#
W C
#
!
W C
!
#
!
W C
Y
W
W C C
mf
W C
W C
Y
C C C
C
U T
W
W
Y
C
C
C C
C
W C T C C C W C C
C W C T
W C
U T
W dim.
W
#
!
W C
C W
C C T
#
!
!
315
!
!
Y
318
! T
#
321
!
#
Y
C C
C
C
G
Y
C
! W C
G
C
#
!
!
Y
G
Y Y
Y C C C
C
Y
G
U T
W C
C Y
G
Y
G
C
C
Y
C C
!
C
C
!
G
G
C
C 326
T C C
C Y C
G
Y
G
Y
W C
C
G
G
Y
#
!
Y
C
C
f
Y C
Y C
TU
C C
Y
eva
Y Y C
C
G
G
Y Y
C
C 324
#
C C
G
G
C C
G
Y
G
Y
C
C
Y C C C
C
T Y
C C
TU
C C
X Y C C
Y C T C
C
C
Y
C C
G
C
G
G
Y Y C
Y
Y C C
G
Y
C
C
X Y C C
Y
C
C
TU
C C
C Y
eva
C C XX YY C Y C
f G
G
C T C C C
Y CC CC
G
X
G
G
Y
Y C C
G
Y
Y
G
Y
Y
C C
G
Y
C
X C
G
G
C
C
#
C
C
X Y C C
#
C C
TU
C C
G
Y
C C C
Y
G
G
#
G
C CG
C C C
CG
C
C
G G
CCT WG
CC C C CC C
G
C C C X CC CC
ff C . C. C.
C C C W
G
TU
T T C
G G G C CC CC
C. C. C.
G
Y
C.
C.
YY CC
G
Y C
C
G
G
C
C
!
G
TU
T U
G
TU
U T
PEL05 – 15

h
h
S
jh
S
S
328
!
#
mf G
C
W C
G G G G
W W C C C
W C C C C C C C C C C CX
C
G
C C W C C C
!
C C G
W W C
W C
G
C
C
C C G
C
CW
C
G
C W W W C C C
G h j
G
CW
CW
C
C U T
G
C U T
G
U T
U T
#
330
! W W C
W C
mf G
G
#
C
W C C
332
!
!
W f G
X C
C C
CW
C
W
C C C
G
C C
G
C C
W C
C C C C C C C C CX
C
G G G
C G G
!
CWG C C C
C C C C C
G
CW
C
C C C
G
C
W C
G
W C
C
C C C
G
C
W W CXG
C C C C C W C C W C
C C
G G G
G G G
C C C C C C C
C C C
C
W
C
G
CW
C
CW
C
G
C
G
W C
W CW
C
X C
C
C
G
W C
C C
G
G
C
G G
C
C C C
W C
C C C
G
C
#
G
W C
W CW
C
C C C
G
C
C
C
334
!
#
C C G
W CC CC
#
W C
W
! CC CC
W C
cresc.
G
G
G
C C C C
!
C
G
C
C
W CC
C
G
C C
W CC
W C
C
C
G CC
CC
CC
C C
G
C
C
C
C
C C C
C
C
C C C
C
C
C C C
C
C
CC
CC
C C
C
#
336
!
XXI
Tempo primo
W COO
W COO
W
BO
W OO W
OO W
BO
WW OO
W
C
COO
OOW
B
#
W C B C B
COO C B
B O
OO
COO
C C B B O
C OO
B B
BBO
BO B
fff
COO
dim.
# C B
C B
W C B
W C B
C B
C B W C B X C B W C B C B W C B X C B
# S W COO
W CO W COO C C Y Y CO
C C W C C W C C C Y Y B W C C
W B WW COO
C
OO C C W CWW C
344
#
p
B B O
espressivo
WV BOO
O B
O B
Y BO
O B O B
O B
O B
pp
W BO
W BO
C W
W C
C
PEL05 – 16

C
S
C
C
B
g
C
C
C
CC
C
h
g
C
C
C
C
C
C
C
C
C
S
C
C
C
C
g
C
BB
B
T
B
B
C
C
g
C
C
igk
C
C
C
C
B
B
CC
g
C
T
C
C
C
C
C
g
C
C
S
g
CC
C
h
C
C
C
C
C
C
g
C
CC
C
C
C
C
CCCC
C
S
C
C
CC
C
C
CC
C
h
S
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352
#
W
XXII
p
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semplice
W C C W B C W C C W B C C W C
W C W C C C C WW O
g
g
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358
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380
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pp
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C OO
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CC
OO
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PEL05 – 17

384
XXIV
a tempo
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C>
C C Y C C
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ff C G C
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386
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388
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C
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C
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C C Y C
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Y C C G C
G
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eva
C C C C C C C C C
C G C C C C G G
G G W C
W C C W C X C
# W C C
W C W C X C W C W C X C W C W C X C
W C W C X C
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390
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392
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mf
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G
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#
395
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#
{eva}
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ff
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#
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B
B
mf
C
C
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PEL05 – 18

S
S
S
T
S
S
S
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G G G
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398
!
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C
C
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C
400
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404
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410
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#
{eva}
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W C
W W B
C
XXV
fff
W COO
W COO W
W C
W COO
W W COO C
W B
W B
W W COO C WW B
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C
C
C
B
B
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#
#
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C
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CW
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XXVI
C C C W C C
CW C
CW
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CW
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417
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421
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PEL05 – 19

h
h
T
T
S
h
h
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428
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pp lontano
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CW C C CW C C C CW C C C C
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439
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C- C C - C C C C
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C C
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PEL05 – 20

CC
h
C
h
C
h
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h
CC
h
C
h
C
h
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C
C
C
CC
C
CCC
CC
CC
CC
C
CC
C
C
C
C
C
C
C
h
C
h
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C
C
CC
CC
C
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CC
CC
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C
CC
h
C
CC
h
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C
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CC
C
CC
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CC
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CC
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CC
C
C
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CC
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CC
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CC
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CC
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C
C
C
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C
C
C
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CC
CC
C
h
C
C
h
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CC
C
C
C
CC
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C
S
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C
C
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h
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CC
445
!
CC
C
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W W C C
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CC
C
CC
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W CC C C C C
CC
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CC
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X C
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W
CC
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W
W
mf
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CC
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W
dim.
CCC
CCC
CC
C
CCC
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C
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W
448
!
#
XXVIII
Poco più vivace
W W C C C C C C C
W C W
CCC W CC
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W C W
CCC W CC
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C
C
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460
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W . C-O
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PEL05 – 21

C
C
U
C
C
C
TU
B
B
C
CC
g
C
C
C
C
C
C
C
T
C
C
C
C
C
h
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C
g
C
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C
C
C
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C
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C
C
C
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h
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C
C
C
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C
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TU
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jh
C
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C
C
C
C
C
C
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C
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g
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C
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C
C
C
T
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CC
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C
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C
C
C
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C
463
XXIX
! X W W C C C C C X C W C C C C O
C C C C W - W
# T W C
g
p
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W
W .
W W C
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ben marcato
W .
W
C C
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W
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476
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479
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W
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#
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#
W
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O
PEL05 – 22

C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
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C
C
C
C
C
C
C
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C
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C
C
C
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C
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TU
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C
C
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C
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C
C
C
C
C
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C
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C
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C
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C
C
C
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C
C
C
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C
C
C
482
!
!
W C . C
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484
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487
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#
W
W
#
W
W
W
W
W
W
W
W C.
C
Ċ C C C W C
>
W
O
OO
OO
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W
O
T O C W C
W
OO
OO
W
W g i
W
W >
W
C
TUU
W
U T
W
!
!
W
C C
G
W
W C C
G
W
W C C
C . C.
W
W
W
O
OO
O
OO
W
W
TU
T T
O
p
OO
!
O
W
C C
>
C
CCC >
C
W
U U T
W
W > O
C
CCC W >
W
W
W
C Ċ U U T
W
CCC W C W >
W
W
W
W > eva
W
W
O
O
W
OO
O
W
W
C C
W O #
C W O
W
O
#
W
W
W
U U T
W
W >
W
W
W
>
O
O
W C.
U U T
C
PEL05 – 23

C
T
BB
B
C
C
B
B
B
CC
C
B
C
C
BB
B
BB
C
S
S
C
C
T
S
S
C
B
B
C
C
C
C
C
BB
B
B
C
C
B
C
C
C
C
C
BBB
CC
C
B
B
B
C
C
C
C
BB
B
BB
S
496
XXXI
Tempo primo
#
W Q
OO BBOO
Q
! W CCOO
W CCOO
W OO C B OO
W OO
p
cresc.
# g i U
W . C
T
W OO
W W B O
O W C B
W C B
W C B O W C B O
502
!
#
W W
W C
C
W C
B
B
CCOO
C OO
B O
W
k
T OO C gi C
C
C
ff - C -
OO
C
C-
C
C-
k gi
C C C
CC
C-
C
C C-
CC
C-
CCC -
C C W C W -
k
T OO C gi C CCC - C
C CCC C W C C C T OO C - C - C- C -
k gi
C C C
507
!
CC
C-
# C C C-
CC
C-
C
C C-
C
C C-
CC
C-
C
C W C-
CC
C-
C
CC-
CC
C-
W W C C C
W C
ff - C-
W W C CC
W C-
C-
WW C
W
mf
W C
W C
W B B
W
dim.
OO
OO
OO
W
OO
W
S
PEL05 – 24

#
B
B
BB
B
B
B
BBB
B
BB
B
B
BBB
B
B
g
g
BBB
B
B
-
B
B
B
B
BBB
B
-B
BB
B
B
B
BBB
B
B
B
-
B
BB
S
B
B
B
B
S
BBB
B
B
B
S
B
B
B
B
B
-BBB
B
‘Six Pieces’ 1964
1
6
C = c.144 ( C = C
mf
)
W - B O O
!
C C C C C C C C O O O C
mp
mp C C C C C C C C C
p
# Q Q
WW O
mf -
! W O W - O O
S
O O O O C
mp C C C C C C C C C C C C C C
p
# Q
WW W
O
mf
mf
f -
- B
W O O C CO
C C C C C
O O O C C C C C C C C CO
C O O
mf
p
mp
# Q Q Q Q
Y B O
11
!
C C C C C C B - O
C C C C C C W W C O
p
mp
p
# Q Q
W BBO
O
BB O BB O
18
!
26
p
X - O
B-O O B
! Y C CY
C C C C W BB S CW
CW
CW
C C C X C CY
C C C CW
W C
X C O B O
C O
mp
mp mf
f
# Q Q Y - O
Q
O
31
!
B O
X -B
O
O B-O
BBO
Y - O
WW - O
X -B
O
BBOO
Y - O
W B WX
O
R
pp
C
C C C C C C B
C C C C B O
O
O
PEL05b
‘Six Pieces’ © Alexander Turnbull Library Endowment Trust
This edition © 2016 Promethean Editions Limited PEL05 – 25
ISMN 979-0-67452-128-4

#
#
#
C
-
C
C
h C
g
C
C
C
-
C
C
h
C
-
T
C
C
g
C
C
C
C
h
-C
C
C
C
C
C
C
C
C
g
C
C
CC
CC
g
C
g
C
CC
h
g
CC
C
C
g
C
C
h
C
g
C
C
C
h
C
C
h
g
C
C
C
C
C
C
C
h
C
g
C
C>
C
h
C
C
h >
C
d
>C
C
CCC
C
C
C
h
C
T
T
CCC
C
C
- g
C C
h
g
C C
h
g
C
C-
CCC
CC
C
C
C
C
C
#
C
g
C
C
C
C
g
C
g
C C
-
C
C
h
g
C
g
C
C
C
C
g
C C
h
C
C
C
C
C
C
C
g
C
C C
#
CC
CC
C
h
C
C
g
C
CC
h
g
C
C
h
h
2
! 3 8
With freedom = c.116
# WW p CC
3 8 h
t X
W - CCOO
C C C C
C CCOO
C-C
C CCOO
C C C T
W W C C
h
t X
-C
W - CCOO
J
C C C C C
C CCOO
7
14
#
!
20
!
!
C CCOO
C W CCO
O
Y C C C C C
C CCOO
t X
X C C C C >
C C
O C O
CCO
I
C C Ċ Ċ C C C C
CCC W C
g
W
W C O
pp
CC C O
CC C O
pp
S g
CC O
O C O
CCO
C-C C W C
CC O
W
!
X
W
CC C O
!
CCC O
fp
Y p C
W
t X
X
mp
W WW
O
Y C C-
CCC O
W
CC C O
CCC
C
WW
mp
W C T
C C C C C C
Y
pp
K
Y
CCC O
Y
CC O
CCC O
O
3
10
!
g
C
= c.108
-
! 3 8 Y
O
Y
C O C Y C
pg
# C
3 O C C
C
O C W C
8 -
O
Y C C O Y C C Y O
O
C O C C C C WW O C C
O
O
- g
O C C - Y C C Y C C Y CC
Y
C
O C CC C
C C W CC
- h
Y C O C CCO
mf mp
T T C CC
W
C O W C CCO
O C O
CCO
C CCO
C O
CCO
Y C OY
C Y
W C OW
C W
C
CCT
mp
pp
p
CC T S
! X C
C O Y
O
WW
C
C C
-
O WW
O
O
O
O
C
C
W
W
C
-
PEL05 – 26

#
#
A
h
?
¯
-
h
g
h
g
h
h
B
h
g
h
h
T
#
h
g
h
S
T
A
h
B
h
h
h
g
g
h
h
h
T
h
T
g
#
-
-
g
B
A
AAA
A
h
-
#
4
19
!
!
28
!
C
C
W
W CO
C CO
C O C
CO
!
C
h
C
C
C = c.63
C g
C
semplice
YY
C
CC
C C
X C
Y C C
C
C C
C g
C C
C
C
-
C
C
W
W CO
C CO
g
Y
C Y
Y C
W
CO
C
C C W CW
C
p cresc.
O
g
C C W CW
C
C
C W
W
CW
C
C
C
C C C CO
! Q
W C W W CO
C C
CO
C
C C
CC
C
-
X C
O
Y C
mp
C
C CWW C
O
g
Y C
O
C C Y C
X
C
CO C
CO C C C
C
C C C
C
CC Y
C
C
C
C -
Y CO CO
CO
f
W W CO
C
W C
C C
C g
C C C C C C C C C C CO
W CO
W C
W CO
C O CO
fp
W CO
CO
C O
CO
C
O
mp
C O
CO O
mp
- C
C g
C
CO
T W B CO
g
C C Y C C
C
C
CO
CO
C
C C C C
8
!
!
g
Y C
C C C C C C C CO
W COC
O
W C
C
CO
CO
C C
W
C
g
C
C C C C C C C C C CO
W C
O B W CO
W BB C WW
C
O
X CO
X
5
C = c.72
! 4 C C C CY
CY
C
p
# 4 C
C
d
- -
pp
C C CY
CY C C C C Y C C
C C
Y C
C U
W
W C
C C C CY
C
C
Y C
C C CY
C
Y C
C C
4
!
T C
C W CCO
C
C YX
CO
C C
U C C CW
C C
-
C C CW
CW C C C C W C B C
C C C C C
!
C C B A
PEL05 – 27

#
#
#
#
#
B
-
-
-
B
h
h
B
-
-
-
h
h
#
B
h
h
#
h
h
R
#
B
B
B
g
g
#
#
7
! T U
C C C CW
C
C
C
C C C CW
C
W C
C
W C -
T
C
C Y C
X CO -
X C
C
CY
C
-CO
C
C
C C CW
C
W C
C C CW
C
W C
R
p
C CW
C
! !
C
CW
C
W
C
C
10
! CO
# C C W C
W C
WW C
g
C
mf
C WW CC
W C
CCO
O
p
C CO
T C
T T U
C C C C W C
C
C C Y C
C C C C W C
W C C CC
Y C C C C W C W C C CC
12
! W C
CCOO
CO W C CO
WW C
g
C Ċ T S T C C W C W CO
p espressivo
WW CC
h
B- B W CO
C
C
-A
A
A A
A
W
A
A A
A
A
6
5
9
! S
! Y A ! T
S
C = c.69
p
d
C
Y
C
W C
with freedom
G
CO
S
C CW C B C
Ċ Ċ Ċ g
C
Y CY
C
CO
W CW
C
G
g
C
C
W C
S
W C
C C C
G
!
g
X C
C
W C
B-O
W CW
C
G
C
C C C
G
C
C
C
h
C
G
C C
g
C
Y
C C
! W C
C C C CW
C
K
!
C
C C
O C
Y
C C C C C C C
W C C
K
S
C C C C C
I
C
C
C C C
G
W CO
C C C
G
g
C
C W C
CO
C
C g
C
W
C CY
G
C
C C C C
W CO
C C C
CO
W
C
!
W
C C
G
C
C
S
C
S C Y C C
C C C C
C
-
CO
O
CO
CO
C C C
g
C C W CO
G g
C CW
C C
C Y CW
C
CO
A A
G
C CW
C
B O
PEL05 – 28

C
C
C
C
C
C
C
C
C
CCC
C
g
CC
CC
C
C
CCC
h
C
g
C
C
g
CCC
C
C
g
CC
CC
g
C
C
C
C
C
C
CCC
C
C
C
C
g
C
C
C
g
C
CC
g
C
C
C
C
C
h
g
CCC
C
g
CC
C
C
CC
g
CC
C
C
C
C
C
CC
C
g
g
C
CCC
h
C
C
C
CC
g
C
C
C
CC
h
C
C
CC
g
CC
C
CC
CC
C
CC
C
h
C
CC
g
C
C
h
C
C
C
C
h
C
CC
h
CCC
h
C
g
C
C
g
C
C
C
CCC
h
C
CC
C
C
CC
C
C
C
T
C
CC
C
C
C
C
C
C
g
C
C
Three Preludes 1943
1
g
Moderato C = c.120
! YY Y 3 T
T T T 8 CC C C C Y C C Y C X X C C X C
C C C
C C C C C C C C C C C C C C C C C
p
# Y Y
C
Y 3 CCC C C C CC C CC C 8 C C X C
CCC CCC X C CC C C CC X C C C C C
X C C C C
6
12
! YY Y X C
C C
W
cresc.
# Y Y C Y C
X W C
! Y Y Y Y O
Y O
# Y Y Y Y O
Y O
18
! Y Y Y
X C C X C
# Y Y Y
C X C
23
! Y Y Y
30
X
W
X C
XW CCC
WX CC
X C C
X CCC
dim.
CC
C C
X
C
C
CC
C
CC
C C
T CC C T Y C T Y C
C C C C C p
C C C C
C CCC CCC
X CC C C CC X
CC
C
C
g
X C
C C
g
X CC
X C C
Y CC C
Y g
Y
X CC C
CC
C
X
X CC
X CC
CC
C
X
C
C
W W
X CC C
CC
C
CCCC
p
CC
C
X
f
CC
C
X
f
O
O
sf
X CC C
C C C C
X
X
X CC C
CC
C C
C C X C
X C C C g
C C X C
C
W C
W C
C C C
C
C
dim.
X
C
C
X
X C
cresc.
C C X C C C C
X C C C C C C
X C CC
C CC
# Y Y W Y
X
W T C
! C C C C
X
h
X C C X
C X sf
WX CC
X
X
X
CC
C
X X O
X
X
CCC
O
O
X C C
C C
C CC
WX CC
C C
X CCC
W C
W C
Y C C C O C C Y C
! W C C
W C C C C C Y C C O C C Y C X C C Y CC X C O CC C
Y Y Y
mp
! W W C C C C
CCC CCC T C Y Y C C C C X CC C C C C C C C C C X C
Y XX C C C
Y
h
X O
X C
X CC C
C C C C
C
C
X
C
C
X
X
C C C C
h
PEL05c
Three Preludes © Alexander Turnbull Library Endowment Trust
This edition © 2016 Promethean Editions Limited PEL05 – 29
ISMN 979-0-67452-128-4

CC
g
CC
CC
C
C
h
h
B
C
h
C
C
CCC
CC
CCC
g
C
C
g
C
C
C
CCC
h
g
C
C
C
CC
C
C
CCCC
h
C
g
C
CC
g
C
C
C
C
C
CCC
C
CC
h
C
C
CCCC
h
C
C
CĊ
CC
CCC
CC
C
T
C
C
h
C
CC
C
g
CCCC
g
C
C
C
CC
h
CC
C
C
T
h
CC
S
C
C
CC
C
g
CC
C
C
C
g
C
h
C
C
h
CCC
C
C
C
g
CCC
g
C
g
C
C
C
g
CCC
C
jhl
jhl
CCC
C
C
C
C
C
CC
g
C
C
C
h
C
C
h
g
CCC
C
C
C
38! YY Y C C
Y C C C O C C Y C C Y C C CC C C X O
mf
! YY C
Y C C C C CC Y C X
# X C C
p
X O
X O C X C
W C C
X X C
C O C X C
W C C
X X C
Y
g
X C C
Y
46
! YY Y
g
X CC C C C
#
g
Y Y Y X C C CC C
C
CC
C
T T C C C C
C
CCO
O
cresc.
X C C
C
X C C C
X C C g
C
C
X C C C
h
X C C C W C
X C C W C
X CC CC
f
C
C
C
C.
C.
CC
CC
sf
CC
C
CCC
C
CC
C
CC
C
54
! YY Y T CC C T C T C C X C
C C X C
C C C C C
C C p
C C C
C
cresc.
# Y Y
C C C
Y
CCC CCC
X CC C CC X C C X C C C C
X C C C C C C
X C
C C X C
C C C
C C X C
W
W CC
CC
C C
X
C
C
CC
C C
60
! Y Y Y CC C C
# Y Y Y C
C
CC
C
mf
C
C
Y CC
Y
poco stringendo
C
C
Y CC
Y
C
C
Y
Y
C
C
C
C
Y
ff
C
C
Y
CCO
O
O
U U T
U U T
XWW CC
W C
W X C C
X C
XWW CC
W C
W X
X
C
C
X C CC
g
X
X C
65
! Y Y Y
XWW CC
W C
X CC C
g
# X C
Y Y W C C Y X C C
ten.
C X CCOO
CC O
CC C C O T X C T T
C
Y C C
X C C
Y C C
X C C
Y C C CC C CC
mf calando
p
CC O X O
X CCO
O Y C O C O
2
Allegro con brio
O
# Y Y Y 4
3 BBOO
mf
# Y Y Y 4
3
C.
C.
BB
> C .
C.
B BB O S C
CCC
CCS
BB> C C C C S h
CĊ X C ĊC S
C
C.
CC.
B
BBO
O
C.
C.
B
BBO
O
B B
> C.
C.
BB
>
PEL05 – 30

S
CĊ
C
CC
C
B
B
C
C
C
C
C
C
C
B
B
S
CCC
CĊ
C
T
B
T
C
C
S
CCĊ
C
C
C
C
C
B
B
CCĊ
C
S
C
CCC
CC
S
B
C
C
B
C
CC
S
g
C
CC
B
B
B
C
C
C
B
C
C
C
C
C
C
B
C
C
S
C>
B
C
B
C
B
C
C
CC
g
C
B
T
C
7
11
16
# Y Y Y
CCC
CCS
CCĊCB
! X BBB
f
# Y Y Y C C C C S h
C
C.
C
C.
C
C. C
C C C
! YY Y X #
C C C C C
C
CC Y C C C C C C C
C C CCC C C
C
C C C C Y C
# Y Y Y
C
C C C
C C
C X C X C C C C C C C C
C C
C.
C.
# Y Y X C Y
ĊC ĊC B
BBO
O B BB O S C
CCC
!
# Y Y Y !
C.
CC. C. C .
C.
B>C C B
. .
B>C C C C S C C.
22
! Y Y Y S
m.s.
CĊ
C
>
C C C
X C C
C C X CC
C
h
cresc.
# Y Y Y C C C X C S C C X C
!
26
! Y Y Y
>CC C C C X CC C C C X C >
C C C
>CC X C
C C
>CC C C C
! Y Y Y
#
C C X C X CC C C X C C
C C CCC
O B O BBO
X > CC C C C
>CC C C C
C C C
sf
X B B
C C C
C C
BB X B B
C C C
C C C C
BBB O S C
Y
CCC
CĊ
B B>C C
B
. .
B>C C C C S h
X C C C.
T # C C C C
C . C.
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X C C C C
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ff
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Y C C C C C C C BB B O
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C C C
CC >
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30
! Y Y Y
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CCC. C. O X CCC
CC
C
# Y Y Y Y C . C. C. C. C. C. C C C C C . C . Y C . C. C. C. C. C.
BB B O
mp
C C C C C
BB B O
C C C C C
BB B O
C C C C C
Y BBO
O
C C C C C
37
! Y Y Y X B O
# Y Y Y
C
C C C C C
BB O
C C C C C
dim.
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C C C C C
BB O
C C C C C C
BB B O
pp
C.
B X BBO
O
rit.
BB B O
C. C. C. C. C . C .
C . C. C. C. C . O B
PEL05 – 31

CCC
CCCC
CCCC
C
C
C
B
CC
CCCC
C
B
B B
C
C
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B
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B
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h
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3
# Y Y Y 4
3 BBOO
Adagio sostenuto = c.56
pp
# Y Y Y 4
3 C C
C
C
C
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B BBOO
C
C
C
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C
CC O C C CC
C C CCC C
X C B CC BBOO
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8
# Y Y Y
BBB C C C X CC CC C ! X X X
# Y Y Y X X X
C C C C C C C
C C C C C C C
15
!
22
!
# C
C
C
C
#
W CC
W CC
C
C
CC W C
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CCC
C
C
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C C
CC
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W CCC
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mf
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C
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CC
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C
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#
p
O
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O C O C
CC O CC
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B
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W CCOO
CC C C
C ! C
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W C
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C
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poco a poco cresc.
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ff
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28
!
#
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CCOO
C
C
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CC
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X
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O
C
C
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dim.
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C
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CC X C
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W
BB
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mp -
Y Y O
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X CCO
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CCO
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C
Y CC
Y C
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Y
CCOO
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C
C
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Y
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34
!
#
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Y
BB
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ff
O
PEL05 – 32

C
C
B
C
B
C
C
C
C
Ċ
C
C
C
C
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C
C
C
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C
C
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Fred’s Birthday 1965
C = c.120
! YY Y Y 4 S
p
.
#
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Y Y Y Y4
Ċ Ċ
4 !
mp
C.
C.
C.
C.
S B C
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.
!
C.
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5
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C . C . C . C X C
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g
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9
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#
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C.
g
C.
PEL05d
Fred’s Birthday © Alexander Turnbull Library Endowment Trust
This edition © 2016 Promethean Editions Limited PEL05 – 33
ISMN 979-0-67452-128-4

Ċ
d
C
h
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Allegro giocoso
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f
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cresc.
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ff
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p
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sim.
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6
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sf
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p
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ff p semplice
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PEL05e
Rondino for a Birthday © Alexander Turnbull Library Endowment Trust
This edition © 2016 Promethean Editions Limited PEL05 – 34
ISMN 979-0-67452-128-4

R
B
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41
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51
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56
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ff
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B
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PEL05 – 35

C
C
C
C
C
C
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C
C
CC
C
C
C
C
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h
C
g
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61
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69
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74
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ff
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p
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cresc.
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ff
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p
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#
C.
C.
senza pedale
C
C.
C
C.
C
C.
C
C.
C
C.
C
C.
PEL05 – 36

Ċ
C
C
Ċ
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C
Ċ
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C
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CC
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C
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#
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94
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99
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104
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109
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114
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CCC
PEL05 – 37

C
CC
B
Ċ
C
C
B
C
C
C
C
C
C
B
B
B
B
C
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119
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eva
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f
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C
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C C C Y
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123
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#
{eva}
ff
C
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PEL05 – 38

Douglas LilburN
Complete Piano Music Edition • 5
Douglas Lilburn occupies a pre-eminent position in
New Zealand music, with a legacy extending well
beyond his compositional output. As a composer,
teacher and mentor he presided in innumerable
ways over the artistic growth of New Zealand from
1940 onwards. From the early works redolent of
the influence of Sibelius and Vaughan Williams, to
the electro-acoustic pieces of his later years, his works have been instrumental
in establishing a genuinely vernacular voice in New Zealand classical music. In
2005 Trust Records launched the first volume in the award-winning recording
series showcasing all of Lilburn’s piano music receiving ‘Best Classical Album’
in the 2005 Recording Industry of New Zealand Music Awards and in the same
year, Gramophone acclaimed that ‘[These] performances and recordings are
unobtrusively excellent.’
This edition is the fifth of eight companion volumes to accompany the recorded
series and draws on the expertise of Dr. Robert Hoskins of Massey University
and Rod Biss, formerly of Schott London, Faber Music and Price Milburn Music,
who was instrumental in first publishing Lilburn’s piano music in the 1970s.
Having worked with Lilburn directly on these early publications, Biss has now
revisited original source materials in the preparation of this series. Together,
the editors have carefully considered and clarified Lilburn’s manuscripts and
early publications in preparing these volumes as both scholarly and practical
editions for performance.
The publication of this fifth volume of the Douglas Lilburn Complete Piano Edition is funded by
Creative New Zealand. The publisher also gratefully acknowledges the support of the Lilburn Trust,
the HRL Morrison Music Trust and Massey University in the publication of this edition.
ISMN 979-0-67452-128-4
Promethean Editions Limited
PO Box 10-143
Wellington New Zealand
www.promethean-editions.com
Lilburn Trust
DOUGLAS LILBURN Complete Piano Music Volume 5 PEL05
Chaconne (1946) • ‘Six Pieces’ (1964) • Three Preludes (1943) • Fred’s Birthday (1965)
Rondino for a Birthday (c.1943)
Printed in New Zealand • PEL05 • PNY PREPEL05