Piano Quintet (Preview)
by John Psathas | Piano Quintet
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PROMETHEAN EDITIONS<br />
JOHN PSATHAS<br />
<strong>Piano</strong> <strong>Quintet</strong><br />
<strong>Piano</strong> and String Quartet
John Psathas<br />
<strong>Piano</strong> <strong>Quintet</strong><br />
<strong>Piano</strong> and String Quartet<br />
PROMETHEAN EDITIONS<br />
WELLINGTON
<strong>Piano</strong> <strong>Quintet</strong> (PE036), for <strong>Piano</strong> and String Quartet by<br />
John Psathas (2000) dedicated to Jack Body<br />
© John Psathas 2000<br />
Published exclusively by Promethean Editions Limited<br />
First edition © 2013 Promethean Editions Limited (201505)<br />
Series Editor: Ross Hendy<br />
Editors: Thomas Liggett, Jared Commerer<br />
ISBN: 978-1-877218-36-1 (print)<br />
ISBN: 978-1-77660-036-6 (ebook)<br />
ISMN: 979-0-67452-168-0<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 />
PE036 – ii
John Psathas (1966)<br />
John Psathas is one of New Zealand’s most frequently performed composers. With works<br />
in the repertoire of such high profile musicians as Evelyn Glennie, Michael Brecker, Pedro<br />
Carneiro, Michael Houstoun, Joshua Redman, Federico Mondelci, the Takács Quartet, the<br />
Netherlands New Blazers Ensemble, the Hallé Orchestra and others, he has established an<br />
international profile and is receiving regular commission offers from outside New Zealand.<br />
Psathas grew up in Taumaranui and then Napier, and left high school early to study<br />
composition and piano at Victoria University of Wellington. Psathas studied further with<br />
composer Jacqueline Fontyn in Belgium before returning to New Zealand, where he has since<br />
lectured in music at the New Zealand School of Music and continued to fulfil a busy schedule<br />
of commissions.<br />
Early success came in 1991 with Matre’s Dance, a maximum-energy duet for percussion and<br />
piano that has since made Psathas’ name internationally known through having been taken<br />
up and championed by percussionist Evelyn Glennie. This work and Drum Dances are now<br />
standard repertoire for percussionists throughout the world.<br />
In August 2000, the premiere of his saxophone concerto, Omnifenix, by legendary jazz<br />
saxophonist Michael Brecker in Bolgna, Italy, brought international acclaim; further<br />
prominent performances of his works have included the 2001 Klangspuren Schwaz Festival<br />
of Contemporary Music in Austria; Psyzygysm, performed by Pedro Carneiro with Strike and<br />
Stroma in the 2002 New Zealand Festival; the premiere of View From Olympus at the 2002<br />
Royal Gala Concert in Manchester, and the premiere of Orpheus in Rarohenga in November<br />
2002. This last, a major work for choir, soloists and orchestra, was a joint commission from<br />
poet Robert Sullivan and John Psathas by the Orpheus Choir of Wellington. In April 2004,<br />
pianist Stephen Gosling first performed Psathas’ piano concerto, Three Psalms, with the New<br />
Zealand Symphony Orchestra, who commissioned the work for pianist Michael Houstoun.<br />
Saxophonist Federico Mondelci commissioned Psathas to write his second saxophone<br />
PE036 – iii
concerto, Zahara, which he first performed with the New Zealand Symphony Orchestra,<br />
conducted by David Atherton, at the Michael Fowler Centre, Wellington, New Zealand on<br />
22 September 2006. In 2008, Chamber Music New Zealand commissioned Psathas to write<br />
a string quartet, A Cool Wind, for the world renown Takács Quartet, who presented the first<br />
performance in the Auckland Town Hall, Auckland, New Zealand on 23 July 2008.<br />
Psathas’ recent career highlights include the creation of key ceremonial music for the<br />
2004 Athens Olympic Games and more recently Zeibekiko, an entire programme of music<br />
celebrating the heritage of Greek music from antiquity and the present day. Zeibekiko was<br />
commissioned by the Eduard van Beinum Foundation at the request of the Nederlands<br />
Blazers Ensemble and toured Holland in 2004. It was a highlight of both the 2004 Bath<br />
Festival (UK) and the 2006 New Zealand International Festival of the Arts.<br />
Psathas’ inclination to work in a collaborative capacity with artists from a wide range of<br />
musical genres and backgrounds has resulted in projects such as Elect the Dead Symphony<br />
with Serj Tankian, and Pounamu with New Zealand roots musician Warren Maxwell. In 2011,<br />
Psathas produced his first film score for the feature-film, Good for Nothing, and further film<br />
music followed with White Lies in 2013. Psathas’ involvement with Booktrack—a company<br />
focused on developing synchronised soundtracks for eBooks—saw the opportunity to write<br />
music for the Salman Rushdie novel, In the South.<br />
Psathas has received a number of awards and honours, including twice winning the SOUNZ<br />
Contemporary APRA Silver Scroll Award (2002 and 2004) for individual works and taking<br />
three Classical CD of the Year awards (2000, 2004 and 2007) in the NZ Music Awards. In 2003<br />
he was made a New Zealand Arts Foundation Laureate and in 2005 was appointed an Officer<br />
of the New Zealand Order of Merit (ONZM).<br />
In 2014 Victoria University of Wellington awarded Psathas a Higher Doctorate in the degree of<br />
Doctor of Music (DMus) for the immense body of work he has contributed to his field.<br />
Latest information about the composer may be found at www.johnpsathas.com.<br />
PE036 – iv
<strong>Piano</strong> <strong>Quintet</strong> (2000)<br />
The <strong>Piano</strong> <strong>Quintet</strong> was written during the recent millennial changeover. It is inspired by and<br />
reflective of four composers by whom I have been influenced: Arvo Pärt, Alfred Schnittke,<br />
Jack Body, and Johann Sebastian Bach. There is a fifth element of inspiration functioning<br />
here also; the collective ‘composer’ made up of a great many unknown musicians who<br />
live in the folk music traditions of the Greek Islands. This island music has always moved<br />
me in both its simplicity and refinement. The second movement of this piece is based on<br />
a transcription I made of a recorded improvisation by the brilliant Greek violinist Stathis<br />
Koukoularis.<br />
While no music I’ve written has been programmatic, or had a literal narrative, I have come<br />
to realise that it is impossible to exclude what is immediately happening in one’s personal<br />
life from the final complex of ideas and emotions that make up a new piece of music.<br />
This autobiographical aspect of composition is nowhere more apparent to me than in this<br />
work. An example of how this manifests itself: some three or four minutes into the first<br />
movement, the second violin and viola burst out in melody. Prior to this moment I had<br />
spent almost an entire week failing to find a way forward from the previous bars. My family<br />
(three generations in the house at this point) took control and absolved me from all other<br />
responsibilities. Relieved of a great number of other pressures, I immediately found a way<br />
forward in the music, and the sense of liberation and sudden release is clearly audible in the<br />
second violin and viola as they sing out.<br />
The third movement is an expression of the wonder and luminous joy I experience when<br />
looking at our beautiful daughter, Zoe, who came in to the world as I was working on this<br />
piece. The <strong>Piano</strong> <strong>Quintet</strong> is dedicated to Jack Body.<br />
John Psathas<br />
PE036 – v
The <strong>Piano</strong> <strong>Quintet</strong> was commissioned by the 2000 International Festival of the Arts for Dan<br />
Poynton and the New Zealand String Quartet with financial support from Creative New<br />
Zealand, Arts Council of New Zealand Toi Aotearoa. The work was given its premiere by Dan<br />
Poynton with the New Zealand String Quartet in Wellington, New Zealand on 14 March, 2000.<br />
The <strong>Piano</strong> <strong>Quintet</strong> has been recorded by Stephen Gosling and the New Zealand String<br />
Quartet, and appears on Psathas’ album, Fragments (MMT2047).<br />
PE036 – vi
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This Edition © 2013 Promethean Editions Limited<br />
This Edition © 2013 Promethean Editions Ltd<br />
PE036 – 1<br />
PE036 – 1<br />
ISMN: 979-0-67452-168-0<br />
ISMN: 979-0-67452-168-0
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PE036 –– 33
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PE036 – 4
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PE036 –– 55
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PE036 –– 77<br />
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C<br />
C C C C C<br />
C<br />
C C C<br />
C<br />
C<br />
C C<br />
C<br />
C<br />
C C<br />
C C<br />
C<br />
C<br />
CO<br />
arco<br />
F<br />
CO<br />
C O<br />
C<br />
C<br />
C<br />
C C<br />
C C W C<br />
C C<br />
C<br />
C<br />
C<br />
C<br />
C<br />
239<br />
! Q Q Q Q<br />
C C C C C C C C C C C C C C C C C C C<br />
C<br />
C<br />
! C C C C C C C C C C C C C C C C C C C C C C C<br />
C C C<br />
C<br />
! C<br />
dim. poco a poco a niente<br />
C<br />
C<br />
C C C C C C C<br />
dim. poco a poco a niente<br />
C<br />
C<br />
C C<br />
C<br />
C<br />
C C<br />
C<br />
C C C C C C C<br />
C<br />
C C C C C C C<br />
Q Q<br />
#<br />
C B<br />
B<br />
mp<br />
W C<br />
! C<br />
C C C C C C<br />
C C<br />
C C<br />
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W C C<br />
C C<br />
C C C C<br />
C C<br />
C C<br />
C C C C C<br />
C<br />
C C C C C<br />
dim. poco a poco a niente<br />
# Q Q Q<br />
C<br />
C<br />
C<br />
C C<br />
C<br />
C C C C C C C C C<br />
C C C C C<br />
C<br />
C C C C C<br />
PE036 –– 23 23
[<br />
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S<br />
T<br />
TU<br />
S<br />
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243<br />
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mp<br />
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C C C C<br />
! C C C C C C<br />
F<br />
C<br />
C C C<br />
C C C C C C C C C C C C C C<br />
C C C C C C C C C C<br />
C C C C C C C C C<br />
C<br />
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C<br />
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C C C<br />
C<br />
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C W C C W C C C C C C C C<br />
C C W C C C C<br />
C C C C C C C C C<br />
C C C C C<br />
C C C C C C C C C C C C<br />
CO<br />
# CO<br />
Q Q Q<br />
247<br />
! Q Q Q : Q : Q ?<br />
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C C C C C C C C C C C C C<br />
C C C C C C C C C C C C C C C C C C C C C C C C C<br />
C C C C C C C C C C<br />
dim. poco a poco a niente<br />
# Q Q Q : Q : Q ?<br />
C C<br />
!<br />
C C C<br />
C C C C C<br />
C C<br />
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C C C C C<br />
# Q C C BO<br />
: Q : Q ?<br />
x8<br />
d<br />
attacca<br />
*<br />
PE036 – 24 24
[<br />
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! 4 C<br />
p<br />
= 72<br />
eva<br />
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W C À<br />
II<br />
W C À C À C À C À C<br />
À C À W C À<br />
G<br />
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À C À W C À<br />
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Q Q Q Q<br />
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W C À C À C À C À C<br />
À C À<br />
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Q Q Q Q<br />
# 4 4<br />
Q Q Q Q<br />
as fast as possible<br />
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F C C<br />
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catch F –B with sost. pedal<br />
# 44 Q Q Q Q<br />
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mf<br />
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Ç<br />
p<br />
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p<br />
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G<br />
solo<br />
heavily, with much expression and rubato<br />
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secco<br />
secco<br />
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pizz.<br />
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arco<br />
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pizz.<br />
arco<br />
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sul tasto<br />
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sul pont.<br />
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8<br />
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p<br />
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{eva}<br />
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g<br />
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g<br />
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pizz.<br />
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{ev`}<br />
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S T Y C<br />
PE036 – 25<br />
X
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s.p. G<br />
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ord.<br />
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pizz.<br />
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spiccato, behind the bridge<br />
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G<br />
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16<br />
{eva}<br />
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ord.<br />
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G<br />
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C<br />
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arco<br />
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s.p.<br />
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W C Ç W<br />
U T<br />
G<br />
C<br />
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X pizz.<br />
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ord.<br />
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G<br />
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C<br />
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G<br />
s.p.<br />
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h<br />
W C À C À C À<br />
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ord.<br />
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F<br />
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___<br />
molto<br />
molto<br />
#<br />
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{ev`}<br />
O<br />
X<br />
PE036 – 26<br />
Y<br />
Y<br />
C<br />
C<br />
B<br />
B
[<br />
]<br />
[<br />
]<br />
[<br />
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C<br />
C<br />
C<br />
C<br />
B B<br />
___<br />
B<br />
B<br />
C<br />
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g<br />
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C<br />
18<br />
{eva}<br />
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G<br />
W C À<br />
W C À<br />
W C À G<br />
s.p Ġ<br />
C<br />
W C À<br />
C<br />
À C À W C À<br />
molto rit.<br />
W<br />
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Q<br />
W<br />
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ì<br />
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20<br />
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Q<br />
f<br />
p<br />
pizz.<br />
mp<br />
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C : Ì T S<br />
Q<br />
molto secco<br />
#<br />
X<br />
Q<br />
Y<br />
C.<br />
{ev`}<br />
{eva}<br />
Più mosso C = 120<br />
W À W À W C À C À C À C À loco<br />
sul tasto<br />
! C C<br />
Q<br />
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p<br />
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# Q S<br />
eva<br />
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sul tasto<br />
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p<br />
C C<br />
pizz.<br />
mf<br />
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À<br />
C<br />
(sul tasto)<br />
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p<br />
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G<br />
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eva<br />
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C<br />
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p<br />
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h<br />
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C<br />
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una corda<br />
Ì<br />
23<br />
molto rit.<br />
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G<br />
{eva}<br />
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À<br />
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S<br />
#<br />
PE036 –– 27 27
„<br />
Â<br />
‰<br />
„<br />
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‰<br />
[<br />
]<br />
[<br />
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C<br />
C<br />
C<br />
C<br />
C<br />
C<br />
C<br />
Ċ<br />
25<br />
C = 68<br />
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F<br />
!<br />
{eva}<br />
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mp<br />
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pizz.<br />
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g<br />
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mf<br />
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sul pont.<br />
F<br />
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h<br />
ÇC<br />
O<br />
heavily, with much expression and rubato<br />
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ÇCO Ç O<br />
mf<br />
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F<br />
C Y C<br />
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arco<br />
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h<br />
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h<br />
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pizz.<br />
loco<br />
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ord.<br />
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X<br />
arco<br />
___<br />
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s.p.<br />
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C :<br />
mp<br />
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catch F –B with sost. pedal<br />
# Q<br />
# Y C<br />
X<br />
mp secco<br />
{ev`}<br />
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T T<br />
G<br />
O<br />
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C<br />
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C.<br />
U T<br />
Ì<br />
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PE036 – 28<br />
PE036 – 28
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PE036 –– 29 29
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PE036 –– 30 30
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4 PE036 –– 31 31
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PE036 – 42
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PE036 –– 43 43
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PE036 – 44<br />
C
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PE036 –– 45 45
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