15.06.2017 Views

Jettatura (Preview)

by John Psathas | Piano

by John Psathas | Piano

SHOW MORE
SHOW LESS

You also want an ePaper? Increase the reach of your titles

YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.

PROMETHEAN EDITIONS

JOHN PSATHAS

Jettatura

Piano


JOHN PSATHAS

Jettatura

Piano

PROMETHEAN EDITIONS

WELLINGTON

PE029 – i


Jettatura (PE029), for Piano by John Psathas (1999). Dedicated to

Tania Psathas

© John Psathas 1999

Published exclusively by Promethean Editions Limited

First edition © 2000 Promethean Editions Limited (201506)

Series Editor: Ross Hendy

Editor: Thomas Liggett

ISBN: 978-1-877218-29-3 (print)

ISBN: 978-1-77660-029-8 (ebook)

ISMN: 979-0-67452-076-8

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.

PE029 – ii


John Psathas (1966)

John Psathas is one of New Zealand’s most frequently performed composers. With works

in the repertoire of such high profile musicians as Evelyn Glennie, Michael Brecker, Pedro

Carneiro, Michael Houstoun, Joshua Redman, Federico Mondelci, the Takács Quartet, the

Netherlands New Blazers Ensemble, the Hallé Orchestra and others, he has established an

international profile and is receiving regular commission offers from outside New Zealand.

Psathas grew up in Taumaranui and then Napier, and left high school early to study

composition and piano at Victoria University of Wellington. Psathas studied further with

composer Jacqueline Fontyn in Belgium before returning to New Zealand, where he has since

lectured in music at the New Zealand School of Music and continued to fulfil a busy schedule

of commissions.

Early success came in 1991 with Matre’s Dance, a maximum-energy duet for percussion and

piano that has since made Psathas’ name internationally known through having been taken

up and championed by percussionist Evelyn Glennie. This work and Drum Dances are now

standard repertoire for percussionists throughout the world.

In August 2000, the premiere of his saxophone concerto, Omnifenix, by legendary jazz

saxophonist Michael Brecker in Bolgna, Italy, brought international acclaim; further

prominent performances of his works have included the 2001 Klangspuren Schwaz Festival

of Contemporary Music in Austria; Psyzygysm, performed by Pedro Carneiro with Strike and

Stroma in the 2002 New Zealand Festival; the premiere of View From Olympus at the 2002

Royal Gala Concert in Manchester, and the premiere of Orpheus in Rarohenga in November

2002. This last, a major work for choir, soloists and orchestra, was a joint commission from

poet Robert Sullivan and John Psathas by the Orpheus Choir of Wellington. In April 2004,

pianist Stephen Gosling first performed Psathas’ piano concerto, Three Psalms, with the New

Zealand Symphony Orchestra, who commissioned the work for pianist Michael Houstoun.

Saxophonist Federico Mondelci commissioned Psathas to write his second saxophone

PE029 – iii


concerto, Zahara, which he first performed with the New Zealand Symphony Orchestra,

conducted by David Atherton, at the Michael Fowler Centre, Wellington, New Zealand on

22 September 2006. In 2008, Chamber Music New Zealand commissioned Psathas to write

a string quartet, A Cool Wind, for the world renown Takács Quartet, who presented the first

performance in the Auckland Town Hall, Auckland, New Zealand on 23 July 2008.

Psathas’ recent career highlights include the creation of key ceremonial music for the

2004 Athens Olympic Games and more recently Zeibekiko, an entire programme of music

celebrating the heritage of Greek music from antiquity and the present day. Zeibekiko was

commissioned by the Eduard van Beinum Foundation at the request of the Nederlands

Blazers Ensemble and toured Holland in 2004. It was a highlight of both the 2004 Bath

Festival (UK) and the 2006 New Zealand International Festival of the Arts.

Psathas’ inclination to work in a collaborative capacity with artists from a wide range of

musical genres and backgrounds has resulted in projects such as Elect the Dead Symphony

with Serj Tankian, and Pounamu with New Zealand roots musician Warren Maxwell. In 2011,

Psathas produced his first film score for the feature-film, Good for Nothing, and further film

music followed with White Lies in 2013. Psathas’ involvement with Booktrack—a company

focused on developing synchronised soundtracks for eBooks—saw the opportunity to write

music for the Salman Rushdie novel, In the South.

Psathas has received a number of awards and honours, including twice winning the SOUNZ

Contemporary APRA Silver Scroll Award (2002 and 2004) for individual works and taking

three Classical CD of the Year awards (2000, 2004 and 2007) in the NZ Music Awards. In 2003

he was made a New Zealand Arts Foundation Laureate and in 2005 was appointed an Officer

of the New Zealand Order of Merit (ONZM).

In 2014 Victoria University of Wellington awarded Psathas a Higher Doctorate in the degree of

Doctor of Music (DMus) for the immense body of work he has contributed to his field.

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

PE029 – iv


Jettatura (1999)

A great test for advanced pianists, Jettatura is a short, uncomplicated moto perpetuo, and

another example of Psathas’s gift for creating high-energy, compelling works. Requiring

heavy and impassioned fingering, Jettatura is shot through with defiance and aggression. The

left hand hammers a stream of ostinati while the right hand flies almost incautiously over the

keys, stretching to the piano’s upper register.

The composer writes

For a country that is home to me in so many ways, Greece has not been so kind to this

particular absent son. Practically every journey I have made there has left me with a

permanent reminder of some unpleasant and often bizarre experience. From donkey bites

to the groin, to motorbike accidents on the island of Santorini, to a protracted, salmonellainduced

weight loss that would have made Jenny Craig’s eyes water, it is not surprising

that members of my family there began to imagine I had fallen under the influence of

someone’s evil eye.

An expedition to Greece in 1998 brought an unprecedented onslaught of bad luck, this

time involving my wife and son. My dear, concerned, sister went to the village expert in

such matters to discover if I was inflicted with the evil eye (also known as mal occhio, or

jettatura). Jettatura is the ancient belief that the gaze of strangers casts unwanted magic

into the lives of the innocent. The belief is that a person — otherwise not malefic in any

way — can harm you, your children, your livestock, merely by looking at them with envy

and praising them. The soothsayer, when checking my aura by long distance (these days

such matters can of course, be conducted over the phone via free-call numbers), gasped,

went silent, and declared I was so heavily and completely hexed that my halo was utterly

opaque.

In Greece there is a talisman one can wear, or place in a car, house, or shop, which

protects against the evil eye (in some countries, one must protect oneself against false

PE029 – v


compliments by spitting on the person who proffers the compliment). This talisman is in

the form of a glass blue eye, a “good eye”. Jettatura, written upon returning from Greece, is

my talisman, my good eye.

This piece is dedicated to my sister Tania, who tried in her own way to protect her kid

brother from jettatura.

Jettatura was written for Susanne Achilles, who gave its premiere performance at the 49th

concert of the MM::99 Festival in Ludenscheid, Germany on the 21 November 1999. The

festival showcased representative music from every year of the 20th century.

PE029 – vi


!

!

!

#

#

>C

S

C

C

>

C

C

CC

>C

C

C

C

>

C

C

C

!

C

C

C

S

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

T

>

C

C

C

>

C

C

C

>

C

C

C

C

C

C

C

>

!

CC

>

C

CC

h >

C

C

C

!

C

C

C

C

C

C

C

C

>C

C

C

S

CC

C

C

T

C

#

JETTATURA DEDICATED TO TANIA PSATHAS

John Psathas

Sempre appassionato

= 132 – 144

! 3 T 4 C C C S C C > >

f

# 3 > Y . Y C T Ċ C

4 Y

!

C Y C>

Y

Y

C C

>

C

Y

C C

C C > C C C C

Y C

C

Y .

Y C

C Y

T C C

C Y C >

5

C C Y C

Y C

> Y C C C C > C > C C Y C C Y C

Y C C Y .

C Y C .

Y C C Y .

C Y C T C

C Y C C C C T C C C Y C C > C C C Y C C > C >

C

Y

.

C T T Y C Y C

C S C

> > Y C>

9

Y > C

Y C > S > C C C C C C C > Y C

Y C C > C> C

>C

C C > C

C

>

C

CCTC > C C Y C

Y

Y

Y > C C T C Y C C T C C.

Y C C T Y C T Y C

>

C> >

Y

Y

>

Y C

C T Y Y C C T Y

C > C

13

17

19

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 > T

C C

C

!

S

C C C T C

> T C

>

Y Y

Y Y Y Y Y Y Y Y

4

5

mf

f cresc.

sub. cresc.

Y Y

.

Y Y Y Y

Y Y Y

. Y Y

Y 4

5

eva

! 5 Y Y C > C > Y C C>

C CC > Y >

CCC CC CC

S 4

4 #

C C C

ff

! 4

5 —#

Y

> C Y

> C > Y C >

mf

eva

T T C 4 Yp Y C Y C

Y

Y

sfz

>

C C C C

Jettatura © 1999 John Psathas

This edition © 2000 Promethean Editions Ltd PE029 – 1

ISMN 979-0-67452-081-2

Y C >

Y

Y C C C C > >

# Y

Y

4

3

Y C C C Y C

Y C Y C C C C Y C

—#3

C C Y C Y Y Y C

Y

> > 4

C Y C

C

C>

sfz

>

sfz

>


#—

C

>

C

C

>C

C C

>

C

C

C

C

C

C

C

C

C

C

>

g

CC

C

>

ig

CC

C

C

C

>

C

>

CC

>

C

CC

h >

>

CC

>

C

C

CC

C

C

g

C

C

C

g

CC

C

C

C

>

C

C>C

C

C

C

C

C

C

C

C

CC

C

T

T

C

C

C

C

C

>

C

CC

C

C

C

C

C

C

C

g

C

>

C

C

>

CC

C

>C

C

C

C

C

C

C

C>

>

C

C

>

C

C C

C

h

C

C

C

>

C

C

C

>

C

C

C

h >

C

>-C

T

>

C

C

g

C

C

C

C

C

C

C

C

C

C

C

>

C

C

C

C

>

C

C

C

C

C

C

CC

C

C

C

>

>

C

C

C

C

C

>

C

>-C

C

T

C

C

>

C

CC

>

C

C

>

C

C

>

C

C

>

C

T

C

>-

C

C

TU

C

h

C

>-C

C

C

>

CC

C

C >

>

CC

C

C

C

21

23

26

28

30

32

> g

# 3 Y

> i

4 4 Y C C C

—#3 Y

4 4

C Y Y Y Y

Y

C

Y Y C Y C

Y > >

>

sfz

sfz

> g i

Y

>

# Y

Y > > 5 8

4

Y C C C Y C Y

C C Y C

C Y C C

Y C

Y

—#5 Y Y C

Y

8

4

Y Y > > C Y

Y

Y C

Y C

> hj

> h

sfz

>

# 4 C C

C C C C C C

Y > > > g g > i

Y > C

gi

Y

Y Y C C > C

4

3+ 3 8

—#4 Y

Y

4 4

3

Y

+3 8

> C C C Y C Y Y Y Y

> > Y Y > >

sfz

O

Y C

# 3 Y C

Y T

sfz

più subito

4 +3 8

4 Y g

sfz

C C

f >

C C C

C Y ! C C C Y

C C Y CC

Y C

Y

—#3 Y

4 +3 8

Y C T

4 Y

> Y Y

C >

sfz

> Y Y >

sfz

> Y C C > >

sfz

> Y C

g

! C

CCC YY CCT C Y CC Y CC

Y

C

Y

Y C C C C C

Y C Y C C Y C Y C C > >C

T

Y C Y C

>C > >

C C Y C

> C Y C

C Y C C

sfz

> C

sfz

> Y > C

sfz

>

! ĊC T C C

C C- > C C

CC C C

CC C

C

Y Y Y Y CCC Y

Y

4

3

ff

cresc.

—##

Y

Y Y

Y Y

Y

Y Y

Y Y

C>C

4

3

PE029 – 2

Y


#

!

h

T

d

C

h

d

d

T

C

C

C

T

C

C

C

CC

C

T

#

C

C

C

CC

CC

C

C

C

CC

h

g

CC

C

C

h

C

h

C

C

C

C

CC

C

h

C

g

C

C

C

C

!

C

C

g

C

C

g

C

C

CC

C

h

g

C

g

C

T

C

C

CC

C

C

S

C

C

h

C

C

C

CC

C

CC

CC

>C

CC

CC

C

h

C

g

C

C

C

C

g

C

C

C

C

g

C

C

>

C

C

C

C

h

C

C

C

C

C

>CC

C

C

h

CC

C

C

h

>

g

C

C

C

T

T

T

>

C

#

34

37

!

39

C

! 3

W CC CC

4 C C CC CC C

C C W CC

C

CC

h

fff

# Y Y

4

3 Y

Y

C

C C

C C C Y C C

!

T C

Y

CC

CC

C

CC W C

Y

C

C

CC

C

Y C C C

Y C

C C

CC

C

Y > CC

Y C

Y C C Y

CC

C

C>C W C

C CC

Y C C C C C C

CC

C

>. C >

Y C C C C Y C

sfz

>.

Y C C

C > X C Y

sfz

Y C

sfż

> C C Y C

>

C C Y C

Y C >

Y C >

Y

Y

Y C >

Y

Y C C Y C .

Y C C C Y C > .

C>C Y C C > C

G G

>

C

C

G

Y C C > C

Y

W

C C YY CC eva

! C Y Y CC Y Y Y C C W

Y C C Y Y C C

2

W C > C WX > C

Y C

1 7 4 C X 8 4

G

sfz sfz sfz

! 2 1 7 C C C C

Y C

C C Y C Y

C

C Y Y C C

Y 4 8 4

sfz

> Y

. h

Y C Y C C

C Y

C C Y C CC

> C Y Y C

> C Y

Y

> (l.v.)

C

CC

G

G

Y C C

> .

C C

sfz

C T

Ì

44

! 4

7 T C

pp

! 4

7 g

Y O Y

p sempre

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

O C O C

O C O C

C C C Y

B B

Y O

C

C

CC C C C C

una corda

Ì

Ì

46

! C O C C C C C C C C 4

6+3 8 C C C C C C O O 4

7

! 6 4 + 3 8

Y C Y C C C C C C C O C C C C

g

Y

O C O C

Y

O

C

C

C

C

CC C C C

C

Y

C

C

7

4

Ì

48

mp

! 4

7

C CC C C CC CC T

W W

C C C C C C C C C O

! 4

7 C Y C

C

C

Y C C C C C C C

C

C

C

C C C C

g

Y

O C O C

Y O

C

C

C

C

Y

C

C

C

C

Ì

PE029 – 3


g

C

C

h

C

CC

C

h

C

C

C

C

C

C

C

T

C

C

C

C

g

CCC

h

C

C

C

C

C

C

C

C

g

CC

C

g

C

C

C

C

C

C

C

C

C

h

C

h

C

C

C

C

C

C

h

C

C

C

h

C

C

C

g

C

C

h

C

g

C

C

C

C

h

C

g

C

C

C

C

C

g

C

C

h

g

C

C

C

C

CC

C

C

C

C

C

C

C

C

C

C

C

C

C

T

C

CCC

C C

C

C

C

C

C

C

CC

g

CC

g

C

C

C

C

C

C

CC

C

CC

C

g

C

C

g

C

C

C

C

C

g

CC

g

C

C

C

C

C

g

C

C

C

C

C

C

C

C

C

CC

g

C

C

C

C

C

C

h

C

C

C

C

h

CC

C

C

h

C

C

C

C

C

C

C

C

C

CC

C

h

C

C

C

C

C

50

!

O

C O C C C C C C C C C

O

Y C g

C CCC C C

! C Y C

C

C

Y C C C C C C C

C

C

C

C C C CC C

g

Y

O C O C

O

Y

C

C

C

C

CC CC Y C

C

Ì

52

eva

C C C W

O

W

W CCOO

B B

! C C C W CC

CC

C C C C C C G

6 4 + 3 8

pp

! 6 4 +3 8

Y C Y C C C C C C C O C C C C

g

Y

C O Y

O

X

Ì

54

! 6 4 +3 O

8 6 8 O C CCOO

CCOO

Y W W C O

C O 4 C C C C C C

4 +3 8

! 6 4 +3 8 6 8 Y C C Y C CC C

4 4 +3

C C C C

8

Y Y C Y C C C C C C C X C

Y

C

C

C Y

Ì

56

CC C

CC CC CC CC

C

! S T

C

! C C C C C C C C C C C C CC C C C C C C C C C C C C C

qua

W O X X

X Y CCCC

4

6

W

+3 8 8 Y

Y O X

X

Y O O 4

G

4

9

4

6+3 8 8 4 Y Y

X Y Y Y Y

X X

Y

Y 4

9

Ì

58

qua

W CCOO

! 4

9 X O O C C C C Y O C O 4

6+3 8 Y C W O X C

X O C C C C

S T W Y Y

X C

4

8

G

G

! 4

9 4

6+3 8 4

8

Y CC Y C C C C Y Y C C C C CCC

Y C Y C

X C Y C C C C

C C C C C CC C

Y

Ì

PE029 – 4


C

C

C

TU

C

>C

B

C

C

C

C

C

C

C

C

C

C

C

C

C

C

S

C

C

C

C

C

C

C

C

C

Q

C

C

CC

Ċ

C

R

C

C

C

CC

C

C

C

C

R

C

T

C

C

>C

C

C

g

C

Q

C

CC

C

C

g

C

C

C

C

{qua}

60

! 4

8 Y C

! 4

8 C Y C

X

C

C

Y

C C

X

S T Y p C C C C C C C C C C Y C C Y C

Y C C

C

C

Y C C

C C C C

Ì

61

! Y C Y C C C C C C C C C C C O C Y O C C > C C C Y C

C C C C C 5 2 + 3 8

poco

! Y C Y C C C 2

5+ 3 Y C Y C C C C C C C

CCCC 8

62

! 5 2 + 3 8

poco più f

! 5 2 + 3 8 Y

2

5

1

C

3

C

2

5 Y C C

1

C

3

C

2

5

1

C

2

3 5

C

1

C

3

C

2

5

1

C C

2

3 5

C

1

C

2

C

Y

3

5

1

3

C

Y 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 C Y C C

C C

64

!

(u.c.)

f

Ì

tre corde

half-pedalling (until m.75)

C C

Y C >

Y

Y C > C

Y

Y C > C A B C O

! Ymp

Y C C

sempre

Y C

C C C C

C

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

65

! R S

T C > Y C

Y

C>C Y C C > C

Y

Y B >

qua

pp

W

T

X C

W

O

X C

Y

O

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

C C C C C C C C

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

66

{qua}

X

X

Y

X . Ċ

G

! –!

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

f

Y

Y C C C Y C C > C C Y C

>

C C C C C C C C

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

Y

PE029 – 5


C

C

C

C

C

>C

>C

C

C

C

S

C

h

C

C

>C

T

C

C

C

C

C

C

C

C

C

C

C

C

C

>C

S

C

C

C

C

>C

>C

C

C

>C

C

C

C

>C

C

C

C

C

C

>C

C

>C

C

C

C

>C

C

R

C

T

C

>C

C

>

C

C

h

C

#

C

T

C

C

C

>C

C

C

Ċ

67

!–

Y

Y C C > C

Y C > C

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

Y

C Y C

C C C Y C

C C Y >

Y C

> C C C > C C C > C

Y C > C C C C

G

C C C C C C C C

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

68

!–

>

C

Y pp Y C

G

C

G

X

Y

G

Y

Y

>

f

Y C

C

Y

> C C

Y

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

C C C C C C C C

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

69

–!C Y > Y C

Y C

>

Y

Y C >

Y

Y C > C C

C C C

C C C C C

C C C C C

C C C > C C

C C

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

C C C C C C C C

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

70

!–

Y C > C

Y C C Y C

C Y C

C C C C Y C C > B C

C C C C > C C C

Y C >

>

C

Y

>

C

C C

! C C Y C C Y C

C C C C

C C C C C C C C

C C

C C C C C C C C C C

71

> C Y C

Y > Y C C Y C Y C >

C C C C > C C Y C > C C > C C > C C C C C

>

C>C

g

X pp qua

. Ċ

–!!

G

G G G

! C C Y C C Y C

C C C C

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

72

!

{qua}

T C X C

G

C T

C X C

G

X C S

! C C Y C C Y C

C C C C

Y

G

Y C C

Y

G

C S

X

X

G

C C X C

G

C W C

W W

G

X

C

G

Y C C C T X C-p

C C C C C C C C

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

Y

PE029 – 6


C

>

C

C

A

C

C

C

C

C

C

C

C

C

C

C

C

C

C

C

C

C

C

C

C

C

C

!

C

C

C

C

C

>C

C

C

C

C

C

C

C

C

R

>

C

C

C

S

C

>

C

C

C

g

C

C

C

C

C

>C

C

R

C

h

C

>

C

R

C

C

>C

C

C

C

S

>C

C

C

73

#

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

X pp qua

X C Y

G

C C

G

C X C

W

G

W C C T X C

C

G

Y

G

Y

C T T h

C C C C C C C C

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

G

O

74

{qua}

X W W

G

X

X X C W CW

G G

W

X X

G

T C X C Y

G

! –!

! C C Y C C Y C

C C C C

f

> Y

Y C C > Y C

C C C C C C C C

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

Y

75

!–

Y C > C C > C

>

C

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

O

Y C

> C Y C

C Y C > Y C

Y

C C C C Y C

C C Y C C C C > C Y C > C C C C > C >C O

C C C C C C C C

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

76

!–

Y C

> C C Y C

Y C C C C

> >

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

C

>

C C C > C C C > C C C C >

C C C C C Y C

>

C C C

G

Y C > C C C C C > C C

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

C C

77

–!7 Y C Y C C > C Y C Y > C C C

C>CC > Y C C C C > Y

C Y C C C C > C

C C C C > C C > C Y C C C C C C C C

> C C >

4

! g

g

Y Y C C C

C C C C C C 7

Y C O 4

L.H. dim. a niente

78

–!7 4

Y C Y C

> C C > Y C C > C C C > C C > Y C > Y C

Y > Y C C C C C Y

Y

4

>

C >

Y G G

! 4

7 g

Y O Y

CCC

B

B O

4 PE029 – 7


C

>

>C

C

C

CC

R

C

C

C

C

C

>

C

C

T

C

C

>

C

C

C

C

C

C

C

C

>

S

C

C

CC

h >

C

>

C

C

C

T

C

>

C

>C

C

C

C

C

C

C

C

C

CC

h

C

C

>

C

C

C

>

C

C

C

C

C

>

CC

>

C

C

C

C

C

C

C

C

C

>

C

C

C

C

C

C

C

CC

>

C

>

C

C

C

>

C

C

C

C

C

h >

>C

C

C

C

C

C

C

C

>

C

C

>

> C

C

C

C

>C

C

79

Y Y C > Y Y > C C > C Y C C Y C

–!4 C Y C

> 3 5 4 4 C Y C Y Y C C > Y

C Y > C > Y

Y C

C > C C

Y Y Y

> 8

! 4 4

Q 3 4

Q Q 5 8

82

Y

–!5 3 8 4 ! 4

Y Y C Y C

> C > Y C > >

(L.H.)

C Y C Y C C C C Y C C YC

Y C C Y C >

Y

sfz

> Y

h

sfz

! 5 Q 3 Q Q 4 8 4 85

! 4 7 8 4

3

sfz

> C.

C C

Y > Y C Y > G G

Y C Y C CC

C C C C C

C Y C C Y C C C C C Y C >

Y C C Y C Y > C C C Y

sfz

> Y C

sfz

> sfz sfz

sfż

! 4 7 Q S O S T # 8 4

3

C

( d )

sfz

> .

Y

sfż

88

91

93

! 3 4

Q Q 3 8

Q # 4 4

Y > C

# C Y C C >

4

3 Y C C C C G G

C Y C Y C 3

G

8

4

Y C

sfz

> C Y C

Y Y C Y

sfz sfz

> C C C Y C Y

Y C

sfz

> C Y C

sfz

. >

Y C

sfz

. >

sfz

# 4 C

>.

sfz meno f

# 4 —#

Y

C

sfz

> .

Y C >

Y

C Y

C C C C Y C C C C Y C

Y C >

Y C C C >

PE029 – 8

Y C Y C >

# C !

C C

C C C

CCC CC

C

C

C C C C C

> h Y

Y

4

3

Y Y Y Y Y Y

4 —#3 Y Y

4 Y Y

Y

Y

Y

sfz

sfz

4 Y C >

sfz


#

C

CC

h

d

T

CC

C

C

C

C

C

C

C

C

C

C

CCC

>

CC

>

C

C

C

C

>C

C

C

C

C

T

>

C

CCCC

h

CC

C

C

C

C

C

C

CCCC

C

C

T

C

C

>C

> g

CC

C

T

C

ig

CC

C

C

>

CC

!

C

C

>

CC

C

C

C

C

C

>

C

h

C

S

S

CCCC

C

C

C

S

CC

C

C

h

C

>-

C

C

C

T

C>C

C

C

C

C

C

>

C

C

C

>C

C

C>

C

C

C>C

C

T

ig

CC

CC

C

C

>C

>C

C

C

T

>

C

>

C

C

C>C

C

T

C

C

C

C>

C

C

C

C

C

>

C

C

C

C

C

h >

C>C

C

CC

C

C

C

ig

CC

h

C

C

T

T

C

T

C

C

C

C

#

95

97

99

>.

! 4 7 Y g >.

8 4

5

Y Y g i

>.

>. >. >.

Y

Y Y CC Y W

C C C C C C C C C YX CC C

C C

—#4 Y 4 C 7 8 4

5

Y Y C Y C C Y C

Y Y

>

>

102

sfz

! 5 4 2 4 Y Y C C

Y C

Y > crescendo poco a poco

> .

>

>.

CC C C CC C C

Y Y C

C

T

C C C C C C Y C

C

C C C C C 4

—#5 Y 4 Y

4 2 Y C Y

Y C C C C C 4

> > C C Y C

C

C Y C

Y C C Y C Y C

Y C C C C C C

sfz

> >

> >

sfz

> > . >

! 2 4 4 Y Y Y C T CC Y C

CCC Y Y .

Y Y C Y Y C C

T CC>

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

Y C C C CCC

—#2 4 Y Y Y C

4 Y C Y C C T C

>

>

Y

Y C C

Y > C Y C

>

! 3

W Y Y > Y

Y C

CC

> C C

Y C Y CC Y C W CC Y

C C C CC

4

W

4 C Y C

C

Y Y

C Y

>C YY > CC

–! 3

Y

4

—#3 Y C

C

4

4 4

3

Y Y Y

> Y C C C C

>C

>

Y C

Y Y >

Y Y C Y

Y

>C >C

>C

> Y

C

>C

105

Y

–!3 Y C >

4 Y h

ff cresc.

—#3 Y #

4 Y

Y

Y

>C C C C

Y

CCC

Y

CCC

YY CC C C >

C

CC C

Y

Y

Y

Y

>C C CC C

Y

107

!–

W C

CC CC

fff

Y C C Y C Y

Y C

C C

Y C C

C

Y C

C

C

C

CC

CCC

W C

CC CC T

Y C C Y C Y

Y

CC

PE029 – 9

Y C CCC C

C Y CC

Y

YY > CC

Y C

Y > C C Y

C C C C > C C C

G

C C Y C C > Y C C C

G

C C

C C

Ì


!–

#

!

d

S

CCC

h

T

CC

T

S

C

S

C

C

C

C

C

CCCC

h

C

C

C

C

C

C

h

CC

C

C

C

CCCC

h

C

C

h

C

C

C

C

C

C

T

CCCC

C

h

C

>C

C

h

S

C

C

C

C

d

CCCC

C

C

#

C

C

h

C

T

C C

C

CCC

h

T

C

C CC

C

R

C C

C

C

!

T

CCCC

h

C

C

C

C

CCC

C

C

C

C

C

C

C

C

C

CCCC

CCCC

C

C

C

#

C

C

>

C

!

C

C

CCCC

h

C

>

S

110

W C

CC CC

Y C C Y C Y

Y C C C

Y C C

C

Y C

C

C

Y C C

Y CC

Y C C Y C Y

CCC

W C

CC CC

Y

CC

YYY > CC

Y C

Y Y

C > C CC

112

C>C X Y Y > Y C>C Y C C > C C C >

Y C

Y W C

–!!

G

C W C W

G

CC C Y

CC C

h

>

C C Y C Y C > Y C>C Y C > C

G G

C C Y C C T C

C

C C Y C C C

C Y C Y C

C C

Y

C C

Y C

Ì

115

qua

! Y Y

CC C C C C

Y

7 C

Y C

CC

2 3 8 C Y Y C C C

C C YY

Y C

WW CC > C W C C > C X > C W W C C

4 C C X C 4 G

! C

C C C 7 2 3 Y C Y C C C C

C

eva

Y C

8 Y C

C

Y C Y

Y C Y

> W

4

CCC XW C

> C C WY > C

X C C 4

G

Ì

118

{qua}

C T C X C

! 3 X

Y Y C C Y X X C C

T S S 4 C S

X C C W C W

4 G G

G G

G

pp

G G

! 3 Q Q 4 Q Q

4 W

C C

G

Ì

122

!

{qua}

Y Y C Y

G

Y C C Y X

G

Y

C

G

X Y Y

C Y C

G

G

Y

G C Y C Y

G

crescendo molto G

! Q # X C

PE029 – 10

Y

G

C C

G

Y

Y

Y

G

Y

Y

G

> C.

fff

C

C>.


PROMETHEAN EDITIONS

Hooray! Your file is uploaded and ready to be published.

Saved successfully!

Ooh no, something went wrong!