Complete Piano Music Vol.7 (Preview)

Douglas LilburN Piano Music 7
VOLUME 5
Works for String Orchestra

Douglas LilburN
Complete Piano Music Edition
Volume 7

Douglas Lilburn Complete Piano Music Edition
Volume 7 (PEL07)
Prelude (1951) © Alexander Turnbull Library Endowment Trust
Five Bagatelles (1942) © Alexander Turnbull Library Endowment Trust
‘Three Pieces’ (1965) © Alexander Turnbull Library Endowment Trust
‘Christmas 1943’ (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 © 2018 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 978-1-877564-66-6 (print)
ISBN 978-1-77660-527-9 (eBook)
ISMN 979-0-67452-130-7
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 7
FOREWORD
Douglas Lilburn biography
Editorial notes
iv
vii
MUSIC
Prelude (1951) 2
Five Bagatelles (1942) 4
‘Three Pieces’ (1965) 26
‘Christmas 1943’ (1943) 30
PEL07 – 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 seventh of eight companion volumes to accompany the recorded series and draws
on the expertise of Dr Robert Hoskins, formerly an Associate Professor at Massey University and
the New Zealand School of Music 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.
PEL07 – iv

In 1947 Lilburn joined the staff at Victoria University College in Wellington and completed several
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.
Prelude (1951)
This piece, which has a Bachian feel for harmonic movement, has aptly been described by the pianist
Margaret Nielsen as ‘exuding a sort of rhapsodic nostalgia as each phrase struggles to escape from
the pedal points that act as secure anchors to different tonal areas.’ A surge of sound in the middle
releases the music into a new tonal centre of C sharp minor but shifting tonalities ensue until it
finally resolves into D major. Lilburn is spare with performing instructions but, as a general rule in
pieces like this, one aims for clearness and plasticity of sound.
Five Bagatelles (1942)
Allegro
Largo
Allegro con brio
Tranquillo (‘From the Port Hills’)
Allegro
The musical structure as one moves through this set progressively reveals a larger unity. The fourth
prelude is known independently as ‘From the Port Hills’, which is a topographical reference to the
Christchurch landscape; the hushed chords and ambient modalities create a warming nimbus, and
this special envelope of sound sustains from first to last. Noel Newson premiered Five Bagatelles
on 12 December 1942 at a concert presented by the Royal Christchurch Musical Society (he gave
a repeat performance at a concert devoted to Lilburn’s music held in the Canterbury University
College Hall on 29 September 1943). A recording of Lilburn playing ‘From the Port Hills’ exists in
the National Sound Archives.
‘Three Pieces’ (1965)
These pieces reveal the erudition of Lilburn’s serial technique but, just as in his Third Symphony,
this is not serialism for the sake of serialism but serialism to invite another dimension. The last piece
is a marvel of sustained intensity and it is wonderfully instructive to see how Lilburn varies the limpid
sonorities emanating from the opening bars to create an even more transfixing beauty.
PEL07 – v

‘Christmas 1943’ (1943)
This parcel of six pieces gifted to Lawrence Baigent and Leo Bensemann opens with jubilant bells
and a quasi-Russian psalm: entitled ‘Christmas 1812’, it seems to be summoning Napoleon’s retreat
from Moscow as a hopeful war-time message (had Lilburn been reading Tolstoy’s account in War and
Peace of Muscovites returning to their ruined city ‘like blood rushing back to the heart’ and listening
to the Home Service broadcasts of war-torn Moscow in November 1943?). The set also includes a
transcription of music for three violins Lilburn originally composed for the play-within-the-play in
Ngaio Marsh’s 1943 production of Hamlet and a pseudo-lute piece entitled ‘Lady Wood’s Fancie’,
which was written as a private joke occasioned by Olive, Lady Newall, wife of the governor-general,
asking Lilburn at a party ‘How beautifully the bellbirds sing - why haven’t you used them in your
music?’ (a caption under the title reads: ‘Don’t you think Mr —, that the New Zealand scenereh/ has
rather a melancholeh beauteh?’). The second prelude is an earlier version of the one published by
Caxton in 1945 and later in Occasional Pieces.
Robert Hoskins, Palmerston North, 2018
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 seventh
volume of the edition has been funded by Creative New Zealand and the HRL Morrison Music
Trust.
Promethean Editions, Wellington, 2018
PEL07 – vi

Editorial notes
Prelude (1951)
The copy-text for this edition is Lilburn’s holograph
in the Alexander Turnbull Library (fMS-
Papers-2483-016).
Five Bagatelles (1942)
The copy-text for this edition is Lilburn’s holograph
in the Alexander Turnbull Library (fMS-
Papers-2483-028).
Bagatelle 1
98, 99 †ƒ added in pencil, presumably by Newson
after discussion with composer.
135 Pencil accent added to 1st note in R.H.
Presumably by Newson after discussion with
composer.
Bagatelle 3
44, 48 beat 2 staccato dot added to match m.38.
45, 49 beat 1 staccato dot added to match m.39.
71 Lilburn indicates use of two pedals but does
not indicate a return to ‘tre corde’. It seems
likely that this would be at the end of m.152.
127–129, 233–235 Slurs and stress marks added to
match 95–97
169 Stress marks added to match 166–168
Bagatelle 4 – ‘From The Port Hills’
1 The ° mark has been added in pencil presumably
by Newson after discussion with
composer and it gives a clear idea of how
Lilburn expected the piece to be played (see
page viii).
20–21 R.H. In Lilburn’s ms these two bars are at a
page turn. We have extended the phrase
across the bar-line to match similar passages.
37 L.H. In the ms the phrase ends on the first C
octave, we have extended it to mirror the
R.H.
Bagatelle 5
The copy text has a pencilled change to the mm of
Œ = 168, and the composers ∑ has been changed
to ∆. We have not adopted these changes, presumably
added by Newson, but performers should be
aware that they were probably approved by Lilburn.
96–110 Accents and slurs have been added to the
R.H. figure to match all earlier appearances
of this figure.
‘Three Pieces’ (1965)
The copy-text for this edition is Lilburn’s holograph
in the Alexander Turnbull Library (fMS-
Papers-7623-20).
Third Piece
11, 13, 23 Lilburn ends his pedal indication with a
wavy line which probably indicates a quick
repetitive up and down of the pedal.
‘Christmas 1943’ (1943)
The copy-text for this edition is Lilburn’s holograph
in the Alexander Turnbull Library (fMS-
Papers-3983-3).
Third Piece
The source for this version of the Prelude has several
differences from later versions; the metronome mark
here is Œ = 152 and in later editions Ó = 84. In bars
8–9 the Cs and Gs are all accented but not in this
source. In later appearances bars 18–19 are significantly
altered. The later version of this Prelude can
be found in Volume 1 of this series.
Rod Biss, Auckland, 2018
PEL07 – vii

The first page of the composer’s manuscript of ‘From The Port Hills’ from Five Bagatelles.
(Reproduced by permission of the Alexander Turnbull Library, Douglas Gordon Lilburn Papers fMS-Papers-2483-028)
PEL07 – viii

Douglas LilburN
Complete Piano Music Edition
Volume 7
PEL07 – 1

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Prelude © Alexander Turnbull Library Endowment Trust
This edition © 2018 Promethean Editions Limited PEL07 – 2
ISMN 979-0-67452-130-7

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PEL07b
Five Bagatelles © Alexander Turnbull Library Endowment Trust
This edition © 2018 Promethean Editions Limited PEL07 – 4
ISMN 979-0-67452-130-7

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B
B C W C C .
W
C
C.
X C CC X
X
B BBOO
f
B BBOO
cresc.
C S C Y C
!
75
! W BB O
W X BB C C
X C
CC CC
Y C Y C O O O
X
sff
mp
dim.
# W W B !
X O
>CC C > C X CC S
X
C C C
82! W W C> C X C > C CC S
BBB X C C X CC
X CC C
C C B O B O W C C C O
C C
W BB
W CC
! W C C
W #
X
C C X C O
S C C C C C
X C C
C C
C
B
B
O B O B
PEL07 – 5 PEL07 – 5

C
CC
B
C
C
B
B
B
B
C
C
C
CC
jh
B
B
C
B
B
B
B
C
C
C
C
S
B
BB
B
C
CC
Ċ
C
CCC
C
BB
C
S
S
C
C
S
C
C
C
C
C
C
B
B
B
Ċ
CC
C
B
C
CCC
S
C
S
CC
C
C
C
C
C
C
C
C
B
>
B
C
B
CC
jh
C
BB
B
CC
B
C
S
B
C
C
C
C
B
B
C
B
C
C
C
C
B
B
C
C
B
B
C
C
C
C
S
C
C
89
! W W C C
X
cresc.
W CCOO
X BBB W C C
# W W C
X X C C C C Ċ C S X C C C C Ċ C S
sf
B
B
X C CCC C C C
B B O
dim.
C C C C C C
95
! W O
>CC C > >CC C > C C B B
W
BBO BBC C C W C
C C CC CC C C
C C C
CC C C
J
mf
sf
sf
# W W C B S S
!
Q #
C C C
C C C C
O
101
! W W
CCCCCCC W O W BB
W C C X C C X CC W CCOO
OO
X BBB W C C X C
C X C C C CC
S
C C
.
p
# W B W S C C
C Ċ
C C B C C
B O
C B B
B
108
! W W C X C C C CC.
# W W C
cresc.
C Ċ
W C C C C CC.
W C C Ċ
X CC X C C CC.
C Ċ
W C C C CC.
W C YX
C X Y Y X CC
W
sff
C Ċ
Y
X B B
Y
Y
BB
O
Y
dim.
Y
BB
O
Y
114
! W W
BB
O
# W W
Y B O
Y
p
X
Y
Y
YY CC
B O B Y C
YX CC
Y B
B Y
YY CC
CC S YX CC
Y
Y B
B Y
YY CC
CC S C
YY O
Y
Y
O
X
Y
Y
O
Y
BBO
O
X
Y
Y
121
! W W
Y CCC OY
Y
# W C W
Y C
Y
O
C XW C
W CC W
X O
WW CC
CC W BB CC W CC CC ĊC S W CC CC ĊC S CC W CC
BB
B
W C W C
W
C
più
O
p
CCBB W CC
O
,
,
PEL07 – 6 PEL07 – 6

B
B
B
B
B
B
C
B
C
B
C
C
C
B
B
B
B
C
C
C
C
B
BB
C
C
S
B
B
B
B
C
C
CC
C
C
C
C
C
CCC
S
B
B
S
B
B
C
B
C
C
C
CC
B
B
C
C
C
S
B
B
C
C
B
B
BB
C
B
C
C
C
S
B
B
C
B
C
B
C
C
129
! W W S
ff
# W W W
W O
W C .
C C.
C
CC . C C W .
W C .
C W CC C . C
C C.
C C.
W C C C
W B
W B C W C
W W C C .
V .
C C
W C C
W BBO
O
O
W
W V C C.
CC
C.
W C C. W C.
W WV
O
BBO
O
O
W f B
O
W C . C ĊC ĊC W ĊC
135
! W W W C
> . W . C C C Ċ C ĊC W ĊC C
Ċ C X CC
C C C C C S S C
C C
C C
p
# W W
W W W W .
dim.
W C.
W
C C C
!
C C
141
! W W 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 .
! W W B O O
#
W BBO W
W
BBOO
CCC S S
B O B O BB O
148
! W W S
CC.
C C.
CC. C.
C BB O
mf
# W W O !
O
C C C C C C C C C C C C C C S C C C
p
O
W BBO
O
W
W
BBOO
CCC S S
BB
O
C C
C C
155
! W W C
C C C C C
C C . C.
! W W #
B O B
BB O
f
B
O
CC.
CC.
CC. CC.
W CC. C .
CC CC.
BBC C
CC.
W C C C CC.
W C.
C C
C CC O
O
CC.
CC.
CC. CC.
W CC. C .
O
CC CC. CC.
162
! W W C C C
# W W
C
BB W B
S ĊC ĊC ĊC ĊC ĊC W C.
C CC ĊC ĊC W CC C
mp O
.
W C
CC
.
f
C C O
O
CC. C C. C C. C C.
W CC. C . C C CC. X C
.
ff
X
X B
X B
O B O B
X
O B O B
C
PEL07 – 7 PEL07 – 7

B
C
B
B
CC
C
C
C
C
C
B
C
BB
C
B
C
C
C
C
C
C
C
C
B
B
C
C
C
C
B
C
B
C
B
C
C
C
B
CC
B
C
C
C
B
C
C
B
C
C
C
B
B
C
B
B
S
C
C
C
C
C
C
C
B
B
B
C
B
C
C
C
C
B
C
C
C
B
C
C
C
C
C
B
B
B
C
C
C
C
C
CCCC
C
C
S
C
C
C
170
! W W C C C B C C C C X C C ĊC S C C X C C ĊC
mp
# W W
X B O
X
C C C C
X
CC Xf . Y CC .
B XY
BB
C
C
Y
Y
O
O
X X C O C C
O
Y B O B B Y CC . Y X C.
C
mp f
B
B
C B C . Y C .
178
! W W
Y X O C C Y C
# W W
Y B O
Y
X
Y
X B Y BB
X Y C C
mp
Y
Y
X
Y X C C ĊC S Y C C
Y X C C ĊC
Y X C . X CC .
X X
C X C f
Y W
B B
O
rit.
C C C OW C B
O
a tempo
O
p
C C C C C
185
! W W
# W W
C
O
C C C C C
X B B
pp
C C C C C
X CC C C C C X C C C C X C C ĊC S C C X C C ĊC S X B B X C C C C C C X C C
C C C C C
C X C
C C C
C X C
C C C
C C C C C
C C C C C
192
! W W X C B B B
O O O
W C C
O C C CC C C CC S .
CC C C CC S BB CC
.
# W W
C
C C C C C
C C C C C
C C C C C
199
! W W CC CC
CC C C C C C B B O C
C
C BB C B B C C
B
B B
# W 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
cresc.
C C
206
! W W C C C C C C C C
# W W !
O
C C C C C C
C C . C.
CCO
W
W
BBOO
CCC T S S # O
h
ff
O
CC.
CC.
CC. CC.
CC
C.
C
C.
CC
C.
C
C.
CC
CC
BBB O
O
S
PEL07 – 8 PEL07 – 8

!
!
B
C
CCC
CC
C
C
C
C
g
CC
C
C
C
C
C
CC
CCCC
C
CCCC
C
CC
C
CCCC
C
C
C
C
C
g
C
C
C
g
C
C
C
C
BBBB
B
CCC
B
B
!
C
CCCC
h
CCC
h
C
T
C
CC
T
h
CCC
h
C
CC
CCC
C
C
C
CCĊ
g
C
C
C
C
C
CC
CCC
C
C
C
C
h
g
C
C
C
C
C
C
C
C
h
h
C
!
C
C
g
T
g
CC
g
CC
C
C
CC
h
CCCC
CC
CC
C C
h
C
g
CCC
C
C
S
C
C
CCC
C
C
CC
C
C
2
Largo = 44
# W 44 T
# W 44
B O
CCC C.
pp espressivo
W CC. C. C
g
CC C
CCC CC
CC CC B
C C C C
B
B
C C Ċ
W C .
CC
Y C C C X
h
C
C
Y C X CC C C
CC
h
C
C
X C C Y C C C X C C W C CC S
C
C
C
C
C
C
U T
C C C
5
# W
# W
U T
W C C Y C TU
Y C C Y C
Y
Y C C X C C
S TU
Y
U T C
cresc.
W
W
C Y C C
TU
C C W C W C C C C C X C C
O
X CCO
W C C
W C
U
C
mf mp
W TU
C
W C C
W
OW
C C C C
U T
W
cresc.
W
W
8
W U T
# W Y C
Y
Y C
X C
Y
CCC
U T
X
C C
TU
C
X C
C CC Y C
C
C
Y
CC
Y
C
C
Y
Y C C
f
Y C
Y C
C
C
C
CC
C
C
C
C
Z
Z
Y
Y
Y
Y
YY CC
C
C
C
Y CC
Y C
Y
C
C
Y
X C CC X Y C
ff
Y C
Y C
t Y
O
X
W X CC
X C
C C
J
X C C X C
11
!
# W
W B B B B
t
X
Y CC
X CC
sff
t Y
O
Y C CC Y C
Y
Y
X
X
WX CC
X CC
J
Y
X
t
X
Y CC
X CC
C
C
Y C CC Y C
Y C
Y C
Y CC
CC
C
C
CC
Y C C
ff
X
X
X CC
X CC
X
C
C
X
W CCC C
C
C
X C
W C
CC
CC
C C
CC- W W -
CCC-
CCC
W CC C
14
!
X
W C C C W C C
CCC S T
W #
W #
X C C CC
C C
U T
C
C
W C
W C
X C
X C
W CCC C
W CCC
C C
C C C
C C
W C C
CC-W W -
CCC-
C
C
X
C
CCO
O
W g
W
C
C
ten.
CC
C
U T
p
C C
PEL07 – 9 PEL07 – 9

!
C
C
CC
CC
BC
C
C
C
h
C
C
T
>
C
C
C
C
CC
C
>C
C
!
C
C
C
C
C
C
C
C
CC
C
C
T
C
C
B
B
T
h
CCC
h
C
CC
CCC
g
C
C
C
C
C
CCĊ
C
C
C
CC
C
CC
g
CC
C
CC
h
C
T
C
h
CC
B
C
C
CC
CCC
h
C
>C
C
C
C
C
C C
C
h
C
CC
C
CCC
h
g
C
C
C
CC
C
g
C
C
C
T
C
CC
CCC>C
CCC
h
!
h
C
CCC>C
C
CCC
h
g
C
CC
CCC>C
h
C
CCC
h
h
g
C
C
C
C
>C
C
>
C
CCC
C
CCC
C C
C
h
C
C C
C
h
CCC
C
C
C
C
C
!
C
C
h
h
C
!
17
# W
U T
W C C
Y C C
Y C C C
CCC X
CCC X C C W C C C C C C W C C
W C C C C C C C C C C C
W C C W
CCC
CCC
CCC W W C C
W C C C X C W C C
X C W C C
# W
Y C C
X C C W C C U C
T
W C C W C
W C -
C C W C
22
!
25
!
W
X
# W C C
W CC
C
20
W C C Y C C X C C C W C C C C C W C C C C C C C C C C C
CC
C
C C
# W C
U T
CC
C
W C C
CC
C
CC
C
C C C C
CCC C
W #
>
X W X
W C O
X
# W
X X C C
X C
OO
OO
dim.
C
C
C
C
C
C
CC
C
C C
CC
C
U T C
C
mp
O
O
CC
C
C
C
U T
CCC C CC
C
C
C C Ċ
f
C C
CC
C
W
cresc.
C
C
O
O
W C.
CC CCC
h
W W C C
mp
W
CC
C
O C O C
Y C C - C X
CC
C
C
C
CCC CC C
C
C
CC
C
W
CC C
W
W
CC
C
CCC
W
W > C
C
CC
C
CC
C C
>C
g
W C
C C
>
X
p C C C CC
X C
X C
>
C
C
>C
C
>C
dim.
CCC C
C C CC
CCC
cresc.
U T C C C C
> > >
W OO C C OO C
W C C C C C
sff
W W C C
W C
>
C
CC
X
C
C
>
C
C
CC
C
C
C
BB
B
>
C
CCC C
C C C C C CC C C
OO
U T
U T C C-
C C C
C
C W -
CC
AA
ppp
C
C C A
W C W C-
3
6
#
#
Allegro con brio = c.152
# 3 4
:
f
# 4
3 :
C
C
W CC
CC O
C C C
C
CC
CC
C
g
C C W CC
C
C
W
CCO
O
O
C C
>
C C T
C C
C C C
C
C
C
C C
C C C
W
C
C
T T
ff
ev`
#
C
CC
CC
C
>C
CC
C
C
CC
C
CCOO
O
C C
>
C C T
C
C
C C C
C
CC
C C
O
CCO
O
S C C
C C S
#
C
C
>C
CC
>C
CC
C
C
CC
C
C C
CC
C
CCOO
O
CCOO
O
S C C
C
C
PEL07 – 10 PEL07 – 10

h
BB
B
Q
h
T
h
:
12
#
!
C>
C C
C
C
C
S
!
ĊC W C Ċ B B C - C C C C S W C - C C C C
mp
C S S #
B !
B C C C C C S
S
C- C C C C
C C C C B C C C C W C S C C C C
S
17
!
!
C- C C C - C C C C C-
C C C
I
C
C
C
C C C C C C C C C C C C C C C C C
h
B
B
C B B C
1.
C T
C T C C C C C
g
C C C C C
S T
#
C
C
f
# :
C
C
S S
!
!
2.
C C C C C C C C C C C C
C T S S
#
C
C
22
W C
C C
f
S S C
C
C
C
S
C C
C
!
C W W C
p
C
C
C C C
Y C C C C C C C C
C
C
C
Y C
C
C
C
C
25
!
!
Y ĊC ĊC ĊC ĊC Y C C C S C C C
W C C C C C C C C C C Y
C C ĊC ĊC ĊC ĊC
C C C CY
C
C
#
mf
Y C
C
Y C
C C
C
!
Y
p
C
CY
C
C
C
C
Y C
C
C
C
C
C
C C C C C C
#
30
!
#
Y C C C S
mf
C
C
C
C C
C
!
Y C C C
p
CY
C
C C
C C
CY C
C C C C C CWW C C XY C Y
C C C C
C C
C
C Y C
C C
C C Y C
C C C
C
C C
C
#
C
C
C
C
C
C
35
W C Ċ
! C
Ċ
CW ĊC Ċ C W W C S Q S Ċ
W C C C WW C
C
ĊC WW CĊ
C
Ċ C
W C
p
# W B
W
W
!
O
BB W C S
BB O
B W C W C
W
BB B
C
C
W
C
C
C
C
PEL07 – 11 PEL07 – 11

#
#
S
B
B
B
BBB
S
#
#
S
T
S
h
h
B
B
#
h
B
B
T
h
#
#
S
BB
B
S
S
#
g
g
S
B
S
B
h
#
W C C C C C C
CW
C C X W C Y C C X
C CW
C C C
W C
T S S
W CC
C
ĊC W C
W . C.
W C
W Ċ C
f C.
C
! C
W C
C
C C C B p
B C
B C
C C
T BBOO
C CW
C W C . W C . W C C .
ĊC
! W W C Ċ C C C X W C C Ċ C ĊC ĊC ĊC
Q
ĊC W W C Ċ C C ĊC W W C Ċ C C C X W C C Ċ C ĊC
S
p BB W C
! W C C C C C
C B O
C C T
B C
C C !
BB C C C ĊC ĊC S
C
40
!
45
C
!
51
!
57
#
!
C
C
!
>C C C
C
C
C
ĊC
ĊC
cresc.
W C C Ċ C ĊC S S Ċ C Ċ C S Ċ
W C
ĊC S Ċ
C
Ċ
C
C
C
C
C
C
C
C
C
C
C
ĊC ĊC C
C
C C Ċ C Ċ C
S C
C
ĊC ĊC
CC
Ċ C Ċ C
CC S S S
C CO
C
C C C
C > C C CO
O
CO
C
C
>C C C
C
C
C C T
C C
S C
!
C S
C C
CY
C
-
sff
CY
C
YY
CY
C
-
Y
CY
C
Y
C T Y C
g
! Y C
B
B
Y CC
CY
COC
O
Y CO
B
B
ff
C C C
C > C C CO
O
CO
C C
S C
!
C C
ev`
Y
C
Y CC
g
C
Y
C
Y Y C C
B B
C
C
X
C C
X C
X CX
C
63
!
Y CC
C Y C
W W C
C C C
W C
C
WW W C
C
C
C C
C
C
C
W W CX C
C W C X C
CY C
C Y C
Y YW C
S C C W C C C W C
C C W C C > C > W C
C
C
Y YW C
C
> C BB O
C C C
Y C C Y C C
C C C C C C C
BB O
dim.
69
!
poco rit.
a tempo
W W
W
Y C
C C C C C Y C
O C C
B O C C Y C C
p pp sotto voce ma
# W W
W
BB B O B O
C C CX C C Y C C
B O
C BBO
con 2 pedale
CX C C C Y C C C C C C C CY
C
espressivo
X - C
C
X - C
C C C
C
PEL07 – 12 PEL07 – 12

S
S
S
C
C
CC
CC
C
C
C
C
C
C
S
C
S
C
C
T
C
jh
CCC
C
jh
-BB
B
C
C
C
-B
C
C
C
C
C
C
C
C
C
C
C
B
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
S
C
C
C
S
C
S
C
S
C
C
C
C
C
C
C
C
C
C
C
CC
C
jh
C
C
S
C
C
C
S
C
C
C
jh
C
C
C
C
C
C
C
C
C
C
CCC
CCC
C
C
jh
C
C
C
75
! W W W C C C C C C C C Y C C C C C C C C C C Y C C C C C
X
C C C
C
C C X C C C
C C C - Y C C C C C
X
# W W
W - CC C C X - CC C C
Q
Y X - CC C
S S
C C C X C C Y C
BB B O
B BBO
82
! W W W X - C X C
C C - Y C C C C C C Y C C C C C C C CC
Y C C C C C C
# W W
W S
Y C C - X
C C CC O
O
BBO
O
C C
BB
B
C X C C
Y
B O
BBO
C X C C C
Y C C C C C C C C Y C C C C
X - CC C C
S
X - CC C C
89
! W W W C C C C C C C C C C C C C X C C C
# W W
W Q
!
C C C X C C Y
BB B O
B BBO
Y C C C C C C C C C Y X C C C C C C C C
X C C
-
XY CC
-
CCS Y C
YX CC
-
Y - CC X C Y C C C C
96
! W W W C C Y X Y -CC C C CC C Y X Y -CC C C CC C C Y C
! W W W #
XYX CC-
O
BBO
B O
BBO
C C X C
C C
X
Y
dolce cantabile
Y
Y
OO
C C C T U T
102
! W W W C C T U C C Y C T U X X
T C
hj T U Y Y
T C B Q S S C
hj
mp
# W W
W
X W X Y C X C C Y C C
C C C C X C C C W C C C X C
C C C C
108
! W W W X X
C
C
# W W
W
Y
Y
Y
X
OO
OO
Y
C
C
C
C
W
C
C
Y C
T TU
Y C
hj
Y C C X C
Y C C T TU
X C
hj
X
Y
X
X C C X C C T TU
C C W C
Y
W C C
C
C
C
C
C X C
C
C
B
B S S T
Y C C C C
C X C
Y C C C
X
g
PEL07 – 13 PEL07 – 13

S
CCC
C
B
C
BBB
C
C
S
C
B
C
B
S
CC
BB
B
T
C
S
CCC
S
B
B
C
S
C
C
-BB
B
B
S
B
C
C
B
B
B
C
C
C
-
C
S
CCC
S
BBB
114
! W W W Y C C
# W W
W Y C
C X C C Y C
C X C C Y C
C Y CC C Y B O
dim.
C B C C
poco rit.
C Y C
C C C
a tempo
pp
C C B B
-
C X C C Y C
B O
BBO
C X C C C Y C
C C C C C
X - CC C C
120
! W W W C C Y C C C C C C C C C C C C C C C C C X C C C Y C C C C C C C C
X
# W W
W - CC C C X - CC C C
S
Q
C C C X C C Y C
BB B O
B BBO
126
! W W W C C Y C C C C X C C - C X C - C X C - C
C C Y C C C C C C C C Y C C C C C C Y C C C C C C CC
Y C
X -CC CC
# W W
W S
Y X -CC C XY CC - C CCC O
O
BBO
O
132
! W W W C C C C Y C C C C C C C C Y C C C C C
# W W
W Y
-CC CC
-CC CC
O S
BBO
O
cresc.
C C C C C
C C
BBCC BBB
C C C C C
C C C C
C C
BB
B
C C C
rit.
C C C C C C
138
! W W W C C C
# W W
W
C C C
a tempo
C C C C C C C C C C C C C C C C C C C C C C C O
mp dim., legatissimo
BB O
BB O
BB O
BB O
CC
C C
C C C
C C C C
C
144
! W W W C O C C C C C C C C C C O C C C C O C C C C C C C C C C O
# W W
W
CC
C C
C C C C
C
BB O
CC
C C
C C C C
C
CC
C C
C C C C
C
BB O
CC
C C
al niente
C C C
C C C C
C
PEL07 – 14 PEL07 – 14

#
#
C C
C
C
C
C
C
C
#
C
CC
T
C C
C
h
C C
C
h
C
S
C
C
C
C
C
C
C
C
C
C
C
S
C
C
C
C
C
h
C
h
-C
C
C
C
C C
C
CC
C
C
?
C
C
¯
C
C
C
C
T
T
S
C
C
T
S
#
C
C
h
C
#
C
C
C
>C
C
C
C
C
C
C
C
C
C
C
C
C
C
g
C
C
C
C
C
T
h
C
C
C
C
C
C
C
g
C
CC
CC
h
C
T
C
C
h
C
C
#
#
h
C C
C
h
C
C
C
>C
C
C
C
C
C
C
C
C
C
C
C
C
C
T
C
C
C
h
h
C
#
150
156
#
162
#
! W W W # X X X
C O C C C C O C C C O
f
# W W
W X X
X
CC
C C
C C C C
C
CC
C C
C C C C C C
C O
!
C C C
C C C
C
C
CC
CCS
CCO
O
O
C C
C
C
C
CC
C
CC
C
C
CC
C
C C
CC
C
O C O
CCO
CCOO
O
!
C
C
C
C
W C C
C
CC
CC O
CC
C
!
C C C
mp
S C C
C C S S B
!
g
C C W CC
C
C
W
C
CC
CCO
O
O
CC
C
C C
CCC W C B B C - C C
!
B C C C C C S
C C
>
C C T
C
C
C
CC
C C C
C
W
T T
C C C
ff
ev`
C
C
C
CC
C
C
C
CC
CC
C
CC
C
CCOO
O
S C C
CCS W C - C C C C C S
C C C C B C C C C
!
C
C
168
!
!
C-CC
W C S C C C C C
C-CC
C C C
C-CCC
I
C C C C C C C C C C C C C C C C C
B
B
CCB B
CC
C C C C
CCT S S
C C C C
173
! Q
C
C
f
S S C
C
W CC
C
CC
C C
!
p
Y
WW CC CC C C CC C CC C CC C CC C Y ĊC ĊC ĊC ĊC Y CC CC CCC S
C C C
Y
C C C C C Y C
Y
mf
Y
C C
!
179
!
!
Y
C C C CCCC W CC C C C CC C CC C Y CC C ĊC ĊC ĊC ĊC Y CC CC CCC S
p
Y
Y
C C C C C C
mf
C
C C
!
Y C C C C C Y C C C
CC C C C C CC
C
p
Y
C C
Y
C
PEL07 – 15 PEL07 – 15

#
#
BBB
h
#
#
B
#
#
h
S
S
g
BB
B
#
h
T
h
#
#
S
S
B
B
#
S
B
B
S
g
g
T
S
185
C C C
Y C W W C C X Y C C C
C C W C W ! C C
Ċ
C Ċ CW ĊC Ċ C W C
W C C
Q CW
W C
W C
p
! Y C
C C C C C C C B WW C C C C W O
BB W C
BBOO
B W C W C
C
C C
!
191
196
C
W W W C C C C W C C C C C C W C X
C C ! C C X W C Y C C C W C C
W C W CC
C
W . C.
W C
C.
C C
! W C C
W C
C
C C C B B C
f
C B
C C
T
C CW
C W C. W C . W C .
! S C W W C C C C W W C C C C X W C C Ċ C ĊC ĊC ĊC
Q
B p
BB O
! W
BB
W C
C C C C C
C
C C g
C C T C
C W W C C C C W W C C C C
BB B O BB B
!
p
C
C C
202
!
!
208
#
214
!
XW C C ĊC ĊC Ċ C Ċ C S S
C
C
ev`
C C ĊC ĊC S
C
C C CO
O
CO
!
Y Y Y C C C
# B X C
B
C
C
C
C
C C C
C
C
S C C
C C S
X
C X C C
!
C CO
C
Y CC
C Y W W C
X C C C C
cresc.
W C C ĊC ĊC S S Ċ C Ċ C S Ċ
W C
ĊC S Ċ
C
Ċ
C
C
C
C
C
C
C
C
C
C
C
ĊC ĊC C
C
C C ĊC ĊC
S C
C
ĊC ĊC
CC
Ċ C Ċ C
CC S S S
C
C
C C C
T W C
C
C
ev`
C
C
C CO
O C CC
C CO
C C C
C
C
T Y C
Y C
Y C
C T Y C
g Y CC
CY
COC
O Y CC
g
h
! Y C Y CO C
sff
C
S C
!
C S CY
C
Y
C
Y CY
C
C
Y
WW W C C C
C
C
C
W W CX C
C W C X C
CY C
C Y C
Y YW C
C
C
Y YW C
C S C C W C C C W C C
C C C W C C > C > W C > C BB B O
C C C
ff
C C C
Y C C PEL07 – 16 PEL07 – 16

B
S
B
C
CCC
BC
B
S
B
S
B
B
CC
S
B
B
B
B
C
CCC
B
BBB
C
C
S
CCC
C
-
C
BBB
S
BB
B
B
C
C
B
B
S
C
C
S
B
S
C
C
220
!
rit.
a tempo
W W
W
Y CC C C
C CC CC CC
C
CC C
C CC
Y C C C C C Y C
O O C C C C Y C
dim.
pp
# W W
W
BB B O B B O B O
C C
sotto voce
BB
B
C X C C Y C
B O
BBO
C X C C C Y C
C C C C C
X - CC C C
226
! W W W C C Y C C C C W C C C C C C C C C C C C C X C C C Y C C C C C C C C C C Y C C C C C C
X - CC C
# W W
W C X - CC C C X - CC C C
S Q
S
C C C X C C Y C
BB B O
B BBO
233
240
! W W W X - C X C - C X C - C C Y C C C C C C C C Y C C C C C C Y C C C CC C C C CC
C Y C C C C C C C Y C
C C C
# W W
W Y X -CC C
S XY CC - C CCC O
BBO
O
O
BBO
O C C C C C Y C
O
BBO
O
! W W W C C Y C C C C C C C C C C C C
C C C C
cresc.
-CC CC
# W W
W
BBCC BBB
S
rit.
C C C C C C
C C C
C C C
a tempo
mp
BB O
C C C C C
dim., legatissimo
C C C C C
-CC CC
C C C C C C
BB O
247
! W W W C C C C C C C C C C C C C O C C C C O C C C C C C C C C O
# W W
W
BB O
BB O
CC
C C
C C C C
C
CC
C C
C C C C
C
BB O
CC
C C
C C C
C C C C
C
253
! W W W ?
C O C C C C C C C C C C O C C C C O C C C C O C C C O
al niente
# W W
W
CC
C C
C C C C
C
BB O
CC
C C
C C C C
C
CC
C C
C C C C
C
CC
C C
C C C C
C
CC O
¯
T T
T T
PEL07 – 17 PEL07 – 17

#
#
#
#
CC
CC
C
S
C
h
CCC
h
g
C
C
h
h
C
C
h
C
C
S
CCC
CCC
S
C
C
C
C
C
C
h
CC
h
CC
h
CCC
h
g
C
C
C
C
h
C
h
h
g
C
CC
C
C
h
C
C
C
CC
C
C
C
C
g
C
C
C
h
h
h
g
C
C
h
h
C
C
C
C
CC
C
C
h
h
g
C
h
C
C
S
g
C
C
h
h
C
CCC
CCC
C
h
C
C
h
CCC
CCC
C
C
C
CCC
h
C
h
CCC
h
g
C
g
C
C
CCC
g
C
C
C
C
CCCC
CCC
C
C C
h
g
C
C
C
g
g
C
C
C
C
C
CCC
C
C
C
C
CC
C
g
C
C
CC
h
h
S
g
CCC
g
C
C
h
CC
h
C
C
C
h
g
C
C
C
h
C
C
CCC
h
g
C
g
C
C
C
g
C
CC
g
C
C
CCC
C
C
C
C
C
h
C
T
C
h
C
C
C
C
C
S
h
C
g
C
C
S
h
C
CCCC
h
g
C
CC
h
C
h
CCCC
h
g
C
C
h
CC
C
g
C
h
C
h
g
C
C
g
CCC
g
C
C
C
CC
C
CC
h
h
C
g
C
C
CCC
g
C
C
4
‘From the Port Hills’
Tranquillo = c.44
! 9 O
8 W CCO
pp
O
# 9 8
d
O
CC C W C
O
C C C C W CCOO
h
espressivo
C
C
C O C C C O
X C C O
C
C
C C W C C C C W C
g X
C C C
O
C C
C C C W CCOO
C C C W C C
h h
C O C C C C O C T S C C C
X C C O
X C C O
W C
W C
X C C
O
O
O C O C
5
!
g
W W C C C C C W C
C O C C W C W C O
C C C
h
O
C C X C C C
C X C C C
W C
C
C
C g
CC W C
O
W C CC
cresc.
W C
C CC
X C C C C W CCC
h
mp
W
W C
W C C C C C C C W
W C C C C C C C C
C C C
C
C
C
C
CC CCOO
C
C
CCCCC C
g
C
C
pp
9
!
W CCO
O
dolce cantabile
C
C
13
! S O
17
!
21
!
C
C
# C C
C
C CCOO
C
C
W C
C
C
C
C
C
C
C C
CCCC CC CC CC W CC
W C
C
C
W CC
W CC CC CC W CC CC CC
CC W CC CC
C
C
W C C
W C CCCC
W C C CC CC
C
C
C C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
W C
C CC C
CCC
C
C
W C O
CC
C
C
W CC C
CCC C
h
C
C
C
C
W
C
C
CC
C
C
C
CCC W C CC CC W C CC W CC C C C
C
C
W CC
W C C
CCC CC CC
CC O
CCC CC CC CC CC CC CC C W CC
CC CC CC CC CC C
C
C
C
C
C
C
C
C
C
C
O C O C
C C W C C W C
f
CC
C
mf
C O
CC
C
C
C
CC
C
CC
C
C
C
CCC C C W CC CC CC
C
C
C
C
W
C
C
CC O
C
C
p
g
C
C
W CC CC CC CC CC
C
C
C
C
C
C
W CC CC C C
W C C C C CC W CC C C
CC
W CC CC
W C C C W CCC C W CC C C C X CCO
CC W C CC
O
O C O C X C Y C C C
W CCO CC CCC Y C
ten.
W C
C g
W C C mf
C
CC
C C C
C W
C
C C C C
C
C C
C
O
O C C
C
C
C
W
C
C
PEL07 – 18 PEL07 – 18

h
h
g
h
h
h
h
g
h
h
h
g
g
h
h
h
h
T
h
h
h
g
h
h
h
h
h
g
h
h
h
h
h
h
h
g
g
h
h
h
g
h
h
h
g
g
25
!
#
29
#
#
33
!
Y
C C O C C Y C C
C Y C C g
C Y
C O
C C C Y C C
Y Y
C C Y
C
Y
C X C C
Y
C O
C
pp
C C dim.
g
C C C
C
C C C
g
C
C g
C
C
g
C C
C C g
Y C
C C C
C
O
C
Y
C g
C
C
O C O C
Y C Y C YC
C
h
! C O
Y C
X C
X C
g
Y C
C T
!
X C
Y
C
O
C
C O
C C
C T X C
Y
!
Y
C
O
C
C
C
C
X
Y
C
O
C
rit.
C
C
C Y
C
C
O
C O
C C C C Y C
Y C
C
C C Y C
Y
C
Y C O
a tempo
pp
C
O
Y C C
C O
C
C
C
C
C
C
C
C C Y C
cantabile
C
Y
C
O C
C
C
O C O C
C
O C
C C C Y C Y
Y
C
Y C Y C Y C
Y C
C
Y C
g
Y C
#
Y C
C
X C Y
C
O
C
C
C C C Y
C
Y C
Y
X C
g
C
C
C
C
C C
g
C
37
!
!
Y Y
C C Y C
Y C Y C
#
Y C
Y
C
C
C C C g
C
C
Y C C X C
C
C
Y C
Y C
X
C
O
Y C
Y C
Y C
C C C T
C
O
!
Y
C
O
C C C
C
C Y Y C Y C C
C O C Y C
C
C C Y C
Y
C
Y C Y C C Y C C C Y
C
Y
O C
O C
Y C
C
41
!
!
C Y Y C
Y C O
Y Y
C Y YC
C
Y C
X C
Y C
C
C O
C C
C Y Y C
C C W X
C W C C W C W C
C O
C g
W C
X C
g
C
#
W C W W W
C
cresc.
C
W C
C C C C W C
C
g
C
W C C C
{ p }
C O
44
!
#
W C C C
C W C T S
W C W C C C C C W C C C
h
C C C
{ mp }
#
C
!
g W C C C C C O
C !
g
C C
g
C C O
C
C C O
C
#
C
{ mf }
C C O
C
C
C
C
C
ev`
C
C
W C
W C
C
C
C
C
C
#
C g
C
f
C
C
PEL07 – 19 PEL07 – 19

g
g
?
47
#
51
#
C
O C O C
!
C
h
C
C
W C C C
C
h
C
C C C
C
h
! T C C W C
C C C C
#
C
C
C h C
C
h
54
!
#
58
!
#
W C W CX
CO
C
O
hC
C
C
O C
C
W C C
h
C g
C
mp
C
C
g
C
C
ev`
CO
COC
C C O
C
ff
C
C
C
C
C
h
C g
C
C
C
C
W C
C C
h
C g
C C
C
C g
C
W C C
C C C W C C C
h h
C g C C g
C
C h
C C C C
CO
O
C
C
C
C C C
C C
C C
C C C
C g
C
ev`
C C C C C C C C W C C
C
C
h
W C C
C W C
h C C C
h
W C
C h
W C
C g
C
h C
C C O
C
C
Y C
Y C
allarg.
C
C Y - Y - C C
C g
C
Y C
C Y C - Y C -
C
-C
C
C
-C
C
C
C
C g
C
W C
lunga
g
C C g
C C g
C C g
C C g
C C g
C C g
C C g
C
C
C C
mp
C
C Cal
niente
CO
CO
O C
O ¯C
W C
C C CO
C C C CO
C C C C g
T T C C CO
C
C C CO
C
C
C
C
C
C g
C
W C
C
C
C
W C CC
h C g
C
[a tempo]
T
mf
CO
CO
C
C
O
O
C C
C C
C
C
C C C C C
C g
C
h C
C
O
C
O C O C
C C O
C
C C C
C
C C C
C
h
C C
C
O
O
h C C h C CO
5
4
!
!
Allegro C = 144
> > > > > > >
Y
C C C C Y
C C Y
C C C C Y
C C ! 4
C C C C C C C C C C C
C C C
mf marcato
! 4 CO
#
Y CO
g
C
!
Y CO
CO
#
g
C
!
Y B
> > >
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 C C
C C C
C C C C C C
g
CCOO
g
BB
Y C C C O g
C O
Y B C C O
#
CCO C C
C
C
CC
C
Y CO
CO
#
g
C
!
Y CO
CO
#
g
C
g
C
!
PEL07 – 20 PEL07 – 20

#
#
BBB
B
B
BBB
#
S
B
#
h
#
#
B
h
B
#
#
#
h
B
B
#
S
#
#
#
R
B
B
#
B
B
BB
B
#
8
> > >
! C > C C g C C
T C C C C C C C C Y
C
C C C C
C C C Y
C
C C C
f
CC
UT C C C C
h T
!
C T g
Y CO
O
g
C C CO
! Y CO
C B
! Y B B
Y C . C C C Ċ C C C
C
CC
C
11
!
Y
>
C
C C C
> >
C
C C C Y
C
C C C
> >
Ċ C C C Ċ C C C C
C C C C C C C
!
Y CO
O
C
g
C
!
Y CO
CO
g
C B
! Y BB
C
C
O CC O
g
C
!
O CC O
g
C
!
14
!
!
>
C C C C
Y BB
> >
Ċ C C C Ċ C C C C
C C C C
C C C
C
C
O CCO
g
C
O CCO
g
C
C C C C C C C C C C C C C C C C
R
C
p
!
BB
B
C > C C C
18
!
!
22
!
26
!
!
C
> >
C > C C R C > C > >
C
C C C C
C C C C C C Y C
C C Y
C
C C C C C
Y B
C C C
>
C
C
C C YB
BB
>
COC
O
C
!
C
CO
O
> > >
C C Y
C C C C
. C . C C C C C C
C Y C
C !
>
C
> > >
C C C C
Y C C Y C C C
C C C C
f mp
B
Y C BB Y B
C
B
!
C
!
Y B B
B
>
C C C C > C C C > C C
Y C
> C
C C C C > C C Y B >
C
C B C A
C
Y BB
C
Y B
> >
C C C
C C C C C
B
B
> > > >
C C C C C C C
C C C C C C C C C
dim.
B
B
B
!
PEL07 – 21 PEL07 – 21

#
#
B
B
R
R
S
A
A
#
A
#
A
B
#
B
#
B
B
#
31
! C C C CY C C C C C C C C C C C C C C CY C C C C C Y C . C C C Ċ C C
C C C
p
cresc.
f brillante
C C
!
C C C Y C C C Y C Y C C C C C C
Y C . C C Y C . C C C C Ċ C C
C
C Y C . C C C Ċ C C
C C Y C
C
. C C C
Ċ C C
C C Ċ C C C
34
!
! Y C C C C C Y C
C C
C
C C C C Y C C
C C
37
!
Ċ C C C C
Ċ C C C C
Ċ C C C C
Ċ C C C Ċ C C C Ċ C C C C
Ċ C C 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
40
! Ċ C C C. C C S
Ċ C C C Ċ C C C C C C
C
C C C C Y C C C
Ċ C C C Y C . C C C C C . C S
C
C C Y C C C
C
C C C CY
C
Ċ C C C C Y . C C C
C
!
43
!
!
Ċ
Ċ
sf
C
C C C
C C C Ċ C C C Ċ 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. C C C C. C C C
dim.
Y C C
C
Ċ C C C Ċ C C C
C C W C
46
#
C C C C C C C C
C C C C C C C C
C
. C C C S
Ċ C C C S W
! S
dolce
p
# W
C W C C C A
C CC C C C C
B B C C C BB BC C
!
B C C C C C C
51
! W C CC C C C C C C C B B C C C C C
S
C C
C C B B
C B B C C C B B
C C C
pp
mp
# W C C C C C C C A ! BB BC C BB B ! B B
B B C C
PEL07 – 22 PEL07 – 22

#
A
B
CCC
C
C
C
BBB
B
C
A
B
B
C
B
B
C
C
C
B
C
BB
B
B
C
R
R
A
S
B
B
B
CCC
A
A
S
C
C
C
C
C
C
C
C
A
A
C
CCC
B
B
CCC
BB
C
C
B
B
C
C
C
C
C
B B
B
#
#
CCC
C
B
B
B
BB
CCC
C
#
57
! W B B C C C C
B
C C
C B
C C C C B B
C C C
C
C
B
C
B B B
C C
! W pp
# C C C C C
C C ! B B B
C C
C A
B
C
A B C C B B
62
! W S # C C C C C C C C C B B R B
C C ! Y B B CCC B
B B Y C C C
B C C C C C Y C
C C O
C CC C
p
p
# W S C C C C A A C C C C C C B B BB
C C A A
A A
A
C C C C
69
! W #
C C C C
S
B C C A C C C
C C C C
C C
A
C B C C A
C C O
# W B B C C C
C
C C C C C C
C C C C
BBCC CC CC CC CC BB B B
C C C C C C B B
!
75
! W S C C
# W
A
A
C C
WW CC
CC Y CC CC CC
CC
B
B
WW CC
CC Y CC CC WW CC
CC CC CC X CC
cresc.
B O C O
Y CC CC CC CC CC
f
C
C
WY C CC
CCC
A
A
80
! W X
Y C C X C
X B
B BB Y X
X C B B
BB Y C
Y CCC
C C CC Y C C Y
X C
B X
C X BBOO
BBBB
mf
# W O
dim.
X X
B
A
B
B
A
B
87
!
a tempo
Y B BB Y p
Y
B
B
Y
!
>
C C
C
C C
C
C
C Y C
C
YY BB
CC YY CC
rit.
> > > > >
Y C C C C
Y Y
C C C C C Y
Y C Y C Y C Y C C CC BB
Y CC
C C
Y B B
B B Y B B Y B
Y
PEL07 – 23 PEL07 – 23

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
C
C
>
>
C
C
>
>
C
>
C
>
C
C
C
>
C
C
C
Ċ
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
>
C
C
C
C
C
C
C
C
>
C
CCC
>
C
C
C
C
C
C
C
C
91
#
C C C C C Y C C C C
Y C Y C
C C C C C
Y B
Y C C Y C
!
Y
Y C Ċ C C Y C
Ċ C C
Y
#
94
!
!
98
!
#
102
!
#
105
!
!
Y
B
Y BOB
O
O B O B
!
#
#
Y Y B C C Y Y C C Y C C
Y C C
B X
!
C C
BY
Y
Y
Y
B
>
>
C C C C C Y C Y C Y C C Y C C C
C C C Y C Y C C
C B Y CC
B C C Y C C Y CC C
Y CC
Y C
C B >
C C C
C C C Y C Y C
C B C
C C C C C C Y C
Y C B
X X
BO
B CC C C
CC Y
C
Y C C B C
C
C
Y
Y C
C C
C Y
Y C C C
!
f
Y CCO
O
>
C C C C C
C C C C CC Y CC C
Y CCOO
#
g
!
Y CCO
O
#
g
!
Y BOB O Y C C
C C
cresc.
>
C C CC CC C C CC Y CC C C C
#
g
!
Y CCO
O
#
g
!
C
Y B C C
Y
C
C C C Y C
C C
Y C. C C C Ċ C C
>
C C C C C Ċ C C
C CC C C CC CC C C C
Y B
CC C
CC
C
C O
#
g
C O
g
108
>
C C C C Ċ C C C Ċ C C
! C C C C C C
C C C C C C C
BB
Y C C C O C #
g O g
C C C
g
UT C
T
C C
h
C C C C C C C C
T
!
h C T
PEL07 – 24 PEL07 – 24

#
#
#
A?
A
#
S
#
#
AAAA
111
!
!
Y C .
C C C Ċ C C C C Y C . C C C C C
Y C . C C C Ċ C C C
Y C . C C C C
Ċ C C C C
S S S
ff
Y C C C C
C C C
Y C C C
C
C C Y C C C
C C C
114
!
Y C . C C C C
Ċ C C C Ċ C C C Ċ C C C C
Ċ C C C C
Ċ C C C C
Ċ C C C Ċ C C C
! S Y C C C C C C C
S
C
C C
S
C
C C Y C
C C
C
117
! Ċ C C C C
!
C
Ċ C C C Y C . C C C C. C C S
C
C C Y C C
C C
Ċ C C C Ċ C C C Ċ C C C C
C C C C Y C C C C C Y C C
Ċ C C C C Y . C C C
C
120
!
C. C C S Ċ C C
C
C Y C . C C C C C . C S
C
C
C C C CY C C C
C C C CY
C
Ċ C C C C Y . C C C Ċ C C C Ċ C C C Ċ C C C Ċ C C C
C
C C C C
123
#
126
!
U T C C C
A
A
C C C
CY C C C C C C C C
C C C C C
Y C C C C C C C C C
dim.
!
C C C Y C
{eva}
C C C C C C Y
!
pp
{eva}
f
C
!
C A?
A
A
!
!
Y - C
Y C
C C C C C C CY C C C C C Y C C C C C C C C C CY
C
Y
!
C C C C Y C C
eva
CY C C C C C C C C C C C Y C C C C C C
eva
C C C C C C
C-
W CC
W CC
-
C
C
W Y C
W Y C
C
C
Y C
Y
C
X C
X C CC
B
ff
B
B
B
g
C
C
AA
A
C
PEL07 – 25 PEL07 – 25

C
A
S
A
g
C
C
C
?
B
?
BB
C
C
g
C
C
C
g
C
g
C
C
C
C
g
C
C
C
C
Ċ
C
C
C
C
C>
g
C
C
C
C
C
C
C
C
C
C C
g
C
C
C
C
C
Ċ
C
C
C
g
C
C
C
B
R
C
C
C
C
C
C
C
C
C
C
C
C
S
C
C
g
C
g
C
C
C
C
g
CC
C
T
C
g
C
g
C
‘Three Pieces’ 1965
1
!
#
Allegro ( = )
p
leggiero
C C
W C C W C
W
W
W
C C
W
W
W
W
cresc.
W
6
!
#
C-
C-
W C -
f
W
W
W
W B >
O
W
p
W
W
X
X C C
W C .
C .
#
10#
Y C
#
W
W
W
W
cresc.
C
X X .
S W C
Y C .
W B-
W C C X C
W C B > Y C >
C>.
12
# R
#
f
W C >
W
W C C X C
W C C >
X
C W C
W W > X C W
Y C-
X
X C
-
C- C X - C >
Y C C C C C C C
13
#
#
W B Y O
W
!
W
ad lib.
X
W
X
Y
!
p
- B-
con pedale
C C C B-
C C
W
C B-
PEL07c
‘Three Pieces’ © Alexander Turnbull Library Endowment Trust
This edition © 2018 Promethean Editions Limited PEL07 26
ISMN 979-0-67452-130-7
PEL07 – 26

C
C
C
T
g
C
C
jh h
g
C
C
C
T
C
C
h
T
C
C
S
C
C
g
C
g
C
C
T
T
C
C
g
C
C
S
C
Ċ
h
Ċ
h
Ċ
C
Ḇ
g
C
g
C
C
C
C
A
g
C
g
C
g
C
C
g
C
C
T
C
g
C
C
C
ig
C
g
C
C
C
C
T
C
S
C
T
C
C
C
C
g
C
S
C
C
h
T
C
g
C
C
B
T
g
C
g
C
C
15
!
! R
C- C - C
W
W
-
B
W B
C- B - C C - h
cresc.
C C C C C
17
!
!
C- BB
-
BB-
W
W
C C B - -
C
W C
W
W B -
-
C
C
B-
W B -
#
W
f ?
!
mf
W
W
W
leggiero
W
dim.
19
!
!
W
W
W
W
#
W
C C
C C W C
W
W
W
X
W
p
2
C = c.116
! 5 O 8
p
! 5 g 8 W .
Ċ T W .
T T g
C W .
W .
T ĊC Ċ T
W .
W C.
T
C C
g
C.
W C T .
T S
C. X C.
Y C.
T C C
W .
T S
X C. C. C. C.
W .
O
g
C.
T T g
C W .
g
C.
W .
T CC.
C.
W .
ĊCĊ
W .
7
! T
C C
!
W . C
g
C.
W C .
W C.
T
C C
g
C.
W C. Ċ
W C
>
O
O
W C.
C C
Y C.
T C C
W .
T S
T C C
W .
C. X C. Y C. C. C T .
T S
C. Y C. C.
C C
W .
T T
T C . C.
Y C. X C.
#
f
.
W C C
C.
T S
C C
PEL07 – 27 PEL07 – 27

S
A
T
A
CC
C
C
d
T
A
R
T
T
g
C
C
C
C
T
C
C
T
C
g
C
T
C
C
g
C
h
A
C Ċ
h
C
T
T
T
C
g
C
T
g
C
C
C
C
A
S
C
h
T
C
C
CC
C
C
C
C
h
T
g
C
T
C
C
T
T
g
C
C
C
BB
C
C
h
g
C
h
C
T
T
C
C C
>C
h
g
C
g
C
C
T
g
C
C
S
g
A
A
T
C
C
CC
C
C
B
C
C
g
C
C
>
13
! T
#
C.
W C
g
C
C.
W W T
C.
C. .
W C.
. W C . ! C
T -
C C
g
C.
W
W
W . T
C C C C
W .
WY C
C. C C . . C C . . C . C C . . C C . . W C . W C . C .
C C W C C Y O
C C C C
C C . . W C . W C . C .
18
C C O
C
! CCO C C C C O C C ?
CCO C C T Q
W C C W g T C C
C. C.
C. W
T C C
. C.
Ċ
# Y C
! C. . T W C T
? mf mp
T S W
Y C
!
. C . W C . C. C
C.
C.
. W C .
. C.
C. W C . . C . C
g T T S . C . W .
3
C = c.54
! 4 #
W -O
W - W - C C O A O A C
dimṬ
p
cresc. g f
W O W g
C A
g
Y C
# 4 W f
A
# g
! C
C- O C- C-O C C
g
C
5
#
#
W C C. >
C O B A
sf
dim.
S T g S
W C.
W C. C.
g
C.
C. C
p
!
S T g
Y C-
g
Y C
C-O
Y C-
Y A A
A A
g
Y C
C-
g
C C-
g
C
9
! T g
Y
p
C-
#
g
Y C
C
-
g
C C C C
g
X C
C-
!
f
W - O
Y > O
O
B
B
dim.
C C C C C W C
C
C
Y
C C
Y C
X C T C-
O C C
p
C
g
Y C
#
X
Y
PEL07 – 28 PEL07 – 28

#
!
!
!
#
C
CC
A
C
C
C
A
S
A
g
C
C
C
C
-C
C
C
B
B B
B
C
T
C
!
C
C
C
C
C
C
h
C
C
C
C
h
T
C
C
C
S
#
C
h
C
B
B
S
C
C
C
T
C
B
C
B
C
#
C
C
g
C C
S
S
T
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‘Christmas 1943’ 1943
CHRISTMAS 1812
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ISMN 979-0-67452-130-7
PEL07 – 30
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PEL07 – 34 PEL07 – 34

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PEL07 – 35 PEL07 – 35

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PEL07 – 36 PEL07 – 36

PEL07 – 37

Douglas LilburN
Complete Piano Music Edition • 7
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 seventh of eight companion volumes to accompany the
recorded series and draws on the expertise of Dr. Robert Hoskins, formerly
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 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 seventh volume of the Douglas Lilburn Complete Piano Edition is funded by
Creative New Zealand and the HRL Morrison Music Trust. 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 979-0-67452-130-7
Promethean Editions Limited
PO Box 10-143
Wellington New Zealand
www.promethean-editions.com
Lilburn Trust
DOUGLAS LILBURN Complete Piano Music Volume 7 PEL07
Prelude (1951) • Five Bagatelles (1942) • ‘Three Pieces’ (1965) • ‘Christmas 1943’ (1943)
Printed in New Zealand • PEL07 • PNY PREPEL07