Pieces for Piano (Preview)

PrometheanEditions

by Douglas Lilburn | Piano

Douglas Lilburn

Pieces for Piano

PROMETHEAN EDITIONS


Douglas Lilburn

Pieces for Piano

PROMETHEAN EDITIONS

WELLINGTON


Douglas Lilburn Pieces for Piano (PEL09)

All works © Alexander Turnbull Library Endowment Trust

Published exclusively by Promethean Editions Limited

First edition © 2019 Promethean Editions Limited

Publisher: Ross Hendy

Series Editor: Robert Hoskins

Music Editor: Rod Biss

Volume curator: Gillian Bibby

Music Typesetters: Jared Commerer, Ben Woods

ISBN 978-1-877564-68-0 (print)

ISBN 978-1-77660-529-3 (ebook)

ISMN 979-0-67452-289-2

Promethean Editions Limited

PO Box 10-143

Wellington

NEW ZEALAND

http://www.prometheaneditions.com

No part of this publication may be reproduced in any form or by

any means without permission in writing from the Publisher.


Douglas Lilburn

Pieces for Piano

Douglas Lilburn..........................................................................................2

Pieces for Piano - An Introductory Collection...............................2

Allegro Grazioso from Four Preludes................................................6

Moderato from Two Christmas Pieces for L.B.................................7

Flourish from ‘A Christmas Offering’..................................................8

Prelude 1948.............................................................................................10

Piece 4 from ‘Six Pieces’......................................................................... 11

Andante from Four Preludes..............................................................12

‘Piece in E Major’......................................................................................13

‘From the Port Hills’ from Five Bagatelles......................................14

Piece 1 from ‘Six Pieces’........................................................................17

Poco Lento ................................................................................................18

Allegro from Four Preludes.................................................................19

Poco Adagio from Sonatina No.1......................................................20

Rondino......................................................................................................22

Andante......................................................................................................24

Two Pieces from Three Sea Changes...............................................25

Moderato from Three Preludes.........................................................32

Four Pieces from Nine Short Pieces for Piano..............................34

Prelude 1950............................................................................................38

Prelude 1951.............................................................................................40

Andante Commodo...............................................................................42

‘Untitled Piece’ 1965..............................................................................43

Adagio Sostenuto...................................................................................44

Andantino from Four Preludes..........................................................45

Movement 1 from Sonatina No.2.....................................................46

Two Pieces from ‘Six Short Pieces’....................................................50

Allegro from Four Preludes in ‘A Christmas Offering’..............52

Theme from ‘Variations on a Theme by Douglas Lilburn’.......53

Lento ma non Troppo from Four Preludes.................................... 55

‘Untitled Piece’ 1981..............................................................................56


Douglas Lilburn

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 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.

Pieces for Piano – An Introductory Collection

This volume introduces students of intermediate to advanced levels (Grades V to VIII) to

some of the most loved, interesting and more unusual of Lilburn’s works for piano. Here

he provides Christmas celebrations for his friends, breathes the fresh air of mountains and

ocean, and explores unusual modes and tone rows, discovering a strange but nevertheless

beautiful atonality. The order of these pieces follow no set historical arrangement nor grad-

PEL09 – 2


ed road, but are arranged to provide the pianist with a pathway to explore the essence of

Lilburn’s pianistic world. Fingering has been added to help the less experienced performer.

Andante grazioso originated in a set of Christmas pieces Lilburn gifted in 1942 to his friends

Lawrence Baigent and Leo Bensemann. This piece floats like a sea bird gliding on thermals

in the air, finally reaching the calmest of landings.

A cacophony of bells can be heard pealing in Moderato, the second of the Two Christmas

Pieces for L.B. gifted to Leo Bensemann in 1949 and first published in Occasional Pieces for

Piano. The tenuto chords should be firm and resounding in tone, the others softer and

warmer.

Flourish, the first work in ‘A Christmas Offering’ of 1944, is a festive fanfare. Care should be

taken that the duplet and triplet demi-semi-quavers keep precisely in time: on the first page

they are mostly duplets, while the second page has triplets all through.

Prelude (1948) on the other hand, is an intensely melancholic piece, whose constant sharply

dotted rhythm, mesmerising chordal shifts and off-beat sforzati send shivers down the

spine.

The fourth of the ‘Six Pieces’ of 1964 consists in a gently developing Dorian melody underpinned

by slowly moving chords of the fouth.

Andante, a miniature whose fascinating melody captures both the ear and the imagination,

is the first of the Four Preludes (1948–1960). It alternates between the Locrian mode and a

statement in B minor. However the final chords, after creating a step-wise harmonisation of

the mode, end, tenuously, on A minor.

‘Piece in E Major’ (c.1942). An unusual piece whose chattering semiquavers bring to mind a

train chugging along at full speed—yet its fourths and fifths hint of an Oriental heart.

‘From the Port Hills’ is the fourth of the Five Bagatelles written in Christchurch in the early

1940s; a recording of Lilburn playing this piece exists in the National Sound Archives. The

frequent open fifth and octave chords and the soaring thirds and sixths tell perhaps of the

open landscape and bracing freedom of the hills.

The first of the ‘Six Pieces’ of 1964 is curious. Increasing lines of quavers alternate with

splashes of quietly coloured chords, the final series making an oddly satisfying closure. A

little judicious half-pedalling will enhance the beauty of this piece.

Another modal miniature is Poco lento (1956), in which side-stepping triadic series are

separated by pattering semiquaver whirlwinds. Half pedalling should again be explored, to

achieve the lontano (in the distance) effect.

This Allegro originally appeared in the set of pieces entitled ‘Christmas 1943’. The two hands

conduct a lively game of chase around the keyboard.

Poco adagio, espressivo forms the second movement of Sonatina No.1 of 1946. Moody and

modal, the first theme opens in the Dorian mode, an evocation of mountain and sky, the

sparsely laid out octaves filled by stark fourths, fifths or sixths. A second left-hand theme

twines up and around the slowly repeating chords, now widening and slowly stepping higher

to a brief fortissimo, only to be succeeded by a return to the first idea. This mysteriously

powerful music needs continual control of touch and balance on the keyboard.

PEL09 – 3


This Rondino (1952) is fun to play. To achieve crispness and jokey precision, the slurred

staccato semiquavers of the first beat of bars 1–4 (and elsewhere) are best played with a

changing (4321) finger pattern.

The haunting Andante (1950) also appears in Occasional Pieces. In this gentle miniature,

repeated modal chords alternate with a decorative melodic fragment. Judicious pedalling

and perhaps half-pedalling should be added.

The Three Sea Changes (1945–81) were written at different periods of Lilburn’s life. Two

are reprinted here. The title derives from Ariel’s song ‘Full fathom five’ in Shakespeare’s

The Tempest. Lilburn wrote that the inspiration of the first piece was Brighton Beach, near

Christchurch, ‘exuberant and sunlit but with a tolling undertone’, and the second was

directly ‘from Paekakariki [near Wellington] — a more expansive view’.

In the first Sea Change the many patterns of two or four repeated semiquavers should be

played with a 4321 fingering if possible, with light fingers and a loose wrist. From about the

eighth note of each billowing phrase, the right pedal could be gradually released towards

the half-pedal position to add resonance and sonic direction whilst avoiding lineal blurring.

In the second Sea Change, the dismal foghorn-like dotted minim groups should be played

deep into the key, each followed by a small whirlwind of sound.

Moderato is the first of Three Preludes (1943). Its undulating chordal material has a hint of

Schubert within.

The Nine Short Pieces for Piano of 1965–66 were presented to Margaret Nielsen along with

a whole folder of piano pieces and the request to ‘please see what you can do with these’.

The resulting nine pieces that she chose, form a quite extraordinary sequence of delicate

and mature miniatures. In the first a spiralling of incipient tone rows can be discerned, and

the sixth piece displays an ear for the calling of birds.

A hunting-horn motif dominates the fabric of the Prelude of 1950, which also explores an

alternation of uneven time signatures from 7/4 down, in ‘rather free rhythm’.

Prelude (1951) fascinates with its constant swirling and undulating grace-note chords, which

gradually spell out a slow-moving melodic motif. The chords oscillate and make new phrasings,

cadencing every so often, only to lead on in a new direction. A most unusual and

exciting piece to play.

Andante commodo (1973) was first published in Occasional Pieces for Piano. Stepped notes

trace their way uphill, spilling over in shimmering streams of triplet and quintuplet or septuplet

scales. Grace-note arpeggiations signal a downward flight to the end, an inversion of

the initial crotchet-quaver-quaver pattern followed by a codetta-like closure of the original

motif.

‘Untitled Piece’ of 1965, with its lovely richness and gentle fermatas, could well have been

named Stillness or Resonances. Some half-pedalling may be explored here, and there is

also place for experimenting with a ringing RH touch. Bar-lines are used very irregularly,

to mark only the ends of phrases, and do not denote accentuation. But note the change of

pedal at the bars marked with fermatas. The final bar needs a ringing tone: play the last

note when your dynamic has fallen to around ∑. Hold finger and pedal until the final notes

have ceased to sound.

PEL09 – 4


Adagio sostenuto (1944) is an imaginative exploration of bitonality. The left-hand melody

always dominates, while the right’s accompanying cloud of repeated chords needs to be

played tenderly, sombrely, and utterly pianissimo. Only at the magnificent conclusion do

the right hand’s quaver chords strive towards an intensity equal with the left hand’s melody.

The miniature Andantino which follows contrasts falling fourths in the treble with descending

augmented fourths in the bass.

A bellbird sings overhead in the first six bars of Sonatina No.2 (1962), and another dives

down the keys a few bars later, delighting those who have visited Lilburn’s house and have

heard this very birdsong in his garden. Sonatina No.2 is in three movements (though only the

first is contained in this volume) and was dedicated to pianist Margaret Nielsen. Measures

mm.32–62 bring further birdsong fragments and their gradual development delights the

performer. Yet there are other elements to discover: Lilburn mentioned, for instance, that

the passage in thirds (from m.63) was a direct reference to the Maori chant Pō! Pō!

Poco lento (No.2) from ‘Six Short Pieces’ (1962–63). Luminous — and sometimes gloomy —

chords build to an exquisite climax. The contrast between the staccato chords and the curious

legato melodies achieves a piquant effect.

The fifth from ‘Six Short Pieces’ (1962–63). The Œ= 160 tempo marking foretells a somewhat

unusual melody, which chases around, turning and swinging like a puppy chasing its tail,

leaping crazily until abruptly subsiding in the last two bars.

Allegro, No.1 of Four Preludes, from ‘A Christmas Offering’ (1944) consists in fast waves

of upward pairs of slurred crotchets, building to full chordal versions of the same tune.

Interspersing these are octave scales in the left hand descending in running staccatos, down

… and down …

For the 1948 Cambridge Summer Music School, Lilburn, the tutor, provided a bi- and tritonal

theme of a somewhat militaristic character, Theme from Variations on a Theme by

Douglas Lilburn (1948), on which the rising composers (Farquhar, Dellow, Carr, Franchi,

Tremain and Pruden) were to write variations. Passing through A major to DÏ, the key of the

diminished 4th, and thence through a dozen or more keys with bi- and multi-tonal combinations,

it eventually winds quietly back to A. The theme is marked Andante, π semplice, but it

is hard to imagine it without the twists and turns which bring it into full-blown ƒƒ climaxes.

The third of the Four Preludes (1948–1960), Lento ma non troppo, is said to be reminiscent

of Bartók and the Eastern European tradition, with its prominent augmented fourth and a

triplet-plus-quintuplet rhythm appearing seven times in only twelve bars. This is a miniature

masterpiece. Care is needed to ensure the triplet and the quintuplet of the first bar and

elsewhere take exactly the same time to play.

Lilburn’s last-written piano piece is ‘Untitled Piece’ (1981), whose rich resonances are based

on octatonic scales [alternating whole and half steps]. A fragile lacework of octatonic figures

is delicately drawn and developed into a sophisticated fresco, while gentle crotchet and quaver

melodies support them with jewel-like steps. Allow the fingers to rest close to the keys

to attain the music’s full, almost unearthly, beauty.

Gillian Bibby

PEL09 – 5


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CC

C

C

C

G C C

CCOO

O

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C

34

! W W

CC

C

CCO

O

CC

C

CC

C

CCO

O

CC

C

CC CCOO

# W

G CCC

G

C CC

W CC

! C

CC C OO

CC

C

C # C C

C

CC

C

CC

C

CC

C

CC

C

BB B O

BBO

O

O

S

PEL09 – 9

PEL08 – 7


C

C

h

CC

C CC

C

C

C

C

C

C

C

C

C

g

C

g

C

C

h

T

g

CC

h

C

h

g

CC

g

CC

h

g

CC

C

C

C

C

C

CC

C

C

C

h

C

C

C

g

C

C

h

g

C

C

h

h

T

C

CC

h

T

C

C

C

h

CC

C

g

CC

C

C

CC

C

h

CC

h

C

C

C

C

C

CC

C CC

C

C

CC

h

C

C

C

h

CC

h

C

C

C

C

TC

C

CC

h

h

C

g

CC

C

h

g

CC

C

C

CC

C

C

C

C

g

C

CC

h

C

C

C

g

C

C

B

g

C

CC

h

C

C

h

g

CC

T

CC

CC

CC

g

CC

CC

g

C

C

C

C

C

C

h

g

CC

g

CC

C

C

C

h

g

CC

CC

C

C

h

h

g

CC

CC

g

CC

g

CC

C

CC

C

C

CC

CC

C

C

CC

C

C

C

C

C

g

C

C

h

g

C

C

h

T

CC

T

CC

CCT

T

CC

h

g

C

CC

CC

C

PRELUDE (1948)

4

7

Con moto C = c.66

# C C C C C C

3

44 O

C

1

2

O C

1

W C O

CCO

4 - - - -

p

sim.

# - - - -

44

C C O C C C C O C C W C O C C C C O C

# W C

#

#

#

10

#

#

1

2

W

1

3

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O

3

1C

O

O

4

C C O C C

3

C

1

3

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CCO

C C C O C

!

C

C

sf

CCO

C C O C C C

1

3

2

4

sf

1

2

OYY 4 p

C3

O

C

C C C C

CC

O

1

2

CC

O

CCOO

Y C C

Y

1

3

1

3

1

3

4

h

Y 4 Y

OW 2 1 C

3

1

C C

O

C C C C C

CCO

sf p

YY OW C C C O C C T C C C C O C C

Y C C 2 C C C Y C Y 5

Y CCOO

CCO

Y CCO

C Y C C C C O

YY

O C O Y

C C C C C Y C

C

C

C T CC C C

C

sf dim.

YY OW O

!

1

3

pp

O

2

4

O

1

3

C C C

O

1

2

sf

YY OW C

O

C

C C C

#

1

3

p

2

4

1

3

C

1

2

O

Y

5

C O C C

CCO

Y g

C C C O C

3 C C

1

3

W 2

C

1

2

O CCO

C C O C C C C O C C W C O C

O

1

3

2

4

CCO

3

1

O W 4 2

1

W CCC

C C C O C C O C

Y O

f

Y

Y

5

3

1

marcato

1

3

4

C

1

2

O

W 2 1

f

CCOO

W CC

sub.

2

4

YY 4 O

W 2

sf p

YY OW CC

1

3

CCC X CC

C O C C O

2

4

13

!

#

5

2

C

mp

X

3

1

C C CC

h

C O C C O

CCCC

dim.

O

5

2C

O

CCC C

C

O

C

1

O

W

2

pp

1

W

W

3

2

1

3

C

C

4

2

3

W g 2

W

W g

W

2

4

cresc.

3 4

CCOO

XY CC

CCOO

XY CC

2

4

1

3

PEL09 – 10 PEL04 – 14


#

#

h

h

C

C

C

C

h

h

C

g

C

h

g

g

C

h

h

CCC

C

C

h

C

C

h

S

C

h

C

h

C

h

C

h

h

g

C

C

#

CCC

h

C

C

CCC

C

h

T

B

A

AAA

A

#

h

16

! Y g 3

C

Y

Y C

2

C

Y g

C

1

3

C

4

1

C

C g

C g

C

1

3

3

2

C

WX

C

X C

W

1

2

X

X C

C

3

1

VW C

O

VW COC

O

2

4

4

2

C

C

1

3

3

2

C

C

C g

C

1

2

C

C

C

4

1

C

C g

C

1

3

W W C

C W 3 2C W C

W C W C

sf

W g

W C X C

1 C CO

2

2

5

W W W C

W C

COW

C C

1 3 2

C

C

sf

CO

5

C

2

C

C

COW

C C

1

3

2

C

C

sf

CO

5

W C

2

19

!

22

#

W C

W C

# COW

CW

C

3

1C

C

C g

C

3

C

C

2

2

1C

C

C

X X C

C

C

sff

X COX

C C

X C

CO

1–4 2 1

5

C

C

C g

C C C

C

p

C

?

C


!

5 2CO

Y COW 4 1 5 C C

1C 2 1 C C g C g

C C g

C g g g

h C C C C C C C C

sf sf dim. sf

C

YY

COO

W

C COC O C C C YY

COO

W C COC O

C C C

YY C

OW C g

C Y COO

C Y C W C C Cg C

1

C

1

3

2

4

1

3

C C C W C

C C C C W C

1

3

3

W C

W

C

COO

COO

W

W

C

C

1

3

4

2CC

C C C BOB

O

C C h

pp

g

C

C

C g

C

1

3

C

C

C

C

C

C

O B O B

YY COC

OW 2 1CC

YY COC

OW C

PIECE 4

from ‘SIX PIECES’ (1964)

! h

C = c.63

2

C

1 2

g

semplice

C C C C O C C

# Q

W W W C C CC C O

g

C

C C C C C C C C C C C O

W

O

W C C

W C O

CC O

1

g

1

C

C

C C C C

W

8

!

g

Y C

C C C C C C C C O

# #

W C O C

W CC

CC O

W

g

C

3

C

4

C C C

O

W CCO B

W BB

C C C C O

W WW

O

X O

X

PEL04 PEL05 PEL09 – 15 28 11


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

CC

C

C

C

CCC

C

C

C

h

CCC

C

h

C

C

CCC

C

C

C

C

h

CCC

C

C

C

h

CC

CCC

C

B

CCC

C

C

CC

C

h

CCC

C

C

CCC

C

C

CC

C

C

C

C

CC

C

h

C

C

C

C

C

C

C

C

BBB

CC

C

C

CC

C

ANDANTE

from FOUR PRELUDES (1948–60)

Andante

= c.54

5

G

! 2 4 C

1

Y

C C C C C C Y C

p with freedom G

C C C C O

# 24

C C C O

Y C C C C C

W

CC

C

1

C

Y 3

C

5

C

1

Y C C C C C C

C C C C

G

C

5

!

#

Y

G

O

C C C O

Y

2

1

W

2

O

3

W

2

1

C C W C

3

2C

C

W 4 C

meno mosso

pp

C C W 3

C

W C C

C4

C

G

4

C C C C C

I

5

C

10

!

#

W 3 poco cresc.

W

C C W 3

C

W

5

4C

W CC

C

G

C C C C

I

5

C

W 3 C C C W 3 C C C

G

W

W

W

1

2

W

3 1 2 3

C C C C C1

J

1

3

C4

5

C

mp

W

1

2

4

W

W

1

C

C

1

C

3

C

13 4

! C

#

B

B

C C W CC

C C CC

rit.

CCCC

3

2

4

2

Y C C

a tempo

G

1

4

Y C C C C C C C C Y

p

G

CCCC Y C C O

C C C O

Y

1

W

2

5C

1

5

4 4

C5

C

cresc.

Y

1 1 1

2 3 4

18

!

#

5

3CC Y C C C C C C C

1

3

1

4

W

1

3

1

4

f O

O

5

Y C C Y C C C

dim.

p

C

C

C

C

B

B

PEL09 – 12 PEL01 – 28


C

T

S

A

A

A

C

C

h

S

C

C

C

Ċ

C

C

B

B

Ċ

C

S

B

C

C

T

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h

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CCC

CC

CCC

CCC

C

CCC

CCC

S

CC

CCC

CCC

CCC

CCC

CC

S

S

C

CCC

C

CC

B

B

C

S

C

C

C

C

C

B

B

C

C

C

C

C

C

C

C

C

C

S

A

A

C

TU

C

C

S

S

C

C

‘PIECE IN E MAJOR’ (c.1942)

5

10

= 126

3

4 5

1

1 2

3

# W W

W C W44 C C C C C C C C 1

C CC C CCC C C C C C C C C C C C C C T

CCC C C C C C C C C X 5 1 3

2 3

4 5

C 1

2 2

C X C CC C C C C C C

CC CC C C C C

h

!

mf

# W W

W W44 A

A

A

A

! W W W 5

2

3

5

5

1

2 3

C

5

5 5

W C C 2

5 3

1

5

2

2 3

C CC C C C

CCC C 2

2 3

C

2 1

C C C CC C

C

C C C #

CCC C C

CCC C C

CCC C 1

5

C C C

2

C3

C C C C

pp

# W W

W W B C

A

A

A

A

A

B C C

1

4 C

3

# W W

W W

CCCC CC CC CC C C

X C C X CC X CC X C 1

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CCC C C C C

!

S

# W W

W W O B O B

X C

X C

14

! W W W W C C C C C CC C CC

C C

18

X

C C

X

C

C

C

C

C

C

CCCC CC CC C CC CC C

O B O B

C

C

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C

C

C

C

X C

X C

C C C

C

C C CC CC C CC CC C

B

B

pp

AA

A

CCC C C

5

mf

B

B

3

1CC C C C C C C C C C C C C

CCCC C C C C C

CCCC C C C C

# W W

W W B C.

B O

!

O C.

C. C

C C

C

C.

3

! W W W 2

1

4

W CCC C C

CCC C C C C C

CCC C C S

C 3 5

5 2 2

3

C 1

3

3

1 1

3

5

1

1

1

1

2

CC CCC C C C C CC C C

C C C #

C

C C C

C CC CC CC C C C

C

C

C

CC

C

! W W W W #

C C

4

22# W W

W C W C

2

C3

C C CC CC CC CC

3

1

2 g 1

ff

!

3

T C C C C C C C

1

2

5

1

2

4

#

CCC C

CCCC S

CCCCCCC C C C C

CCCC S

1

4

5

2CC C C C

2

1

2

CCC C C

3

C C U T

O B O B

CCC C C O B

CCC C C

C

C

# W W

W W

A A

O

O

C C

S C C C

CCC O

C C B

PEL09 – 13 PEL08 – 3


CC

CC

C

S

C

C

C

S

h

CCC

h

g

C

h

C

C

h

CCC

C

C

h

S

C

C

C

C

C

C

C

C

C

h

CC

h

CC

h

g

C

C

h

g

C

CC

C

C

h

C

CC

C

C

g

C

C

C

C

C

h

h

h

g

C

C

h

C

C

C

CC

C

C

CC

C

C

h

C

S

C

h

C

h

g

C

h

h

C

CCC

C

C

C

C

h

CCC

C

CC

h

C

h

g

C

C

CCC

h

g

C

CCC

CCC

C

C C

h

g

C

C

C

g

C

C

g

C

C

C

C

g

C

C

CC

h

S

h

g

CCC

g

C

C

C

C

h

C

g

C

C

C

C

h

CCC

h

g

C

g

C

C

CC

g

C

C

C

C

CCC

C

C

h

C

C

C

h

T

C

C

C

S

h

C

S

h

CCCC

h

g

C

CC

h

CC

h

CCCC

CC

C

C

C

h

C

h

h

g

C

C

g

CCC

g

C

C

C

C

CC

CC

C

h

C

g

C

C

g

C

C

‘FROM THE PORT HILLS’

from FIVE BAGATELLES (1942)

Tranquillo C O= c.44

! 9 O

8 W CCO

pp

O

# 98

d

espressivo

2

5

CC C W C

O

C C C C W CCOO

h

C O C C

X C C O 3

2

1

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

2

4

X

1

5

O

O

O C O C

5

!

#

3g

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 W

C X C C C C

C

C

C g

4 3

W

CCC C C C

4

W C C C

O

cresc.

5

C

CC

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

4

2

CCC

dolce cantabile

C

C

5

3

C CC CC CC

W C

C

C

W

W CC

C

C

C

C

C

C

4

C

W C

C CC C

4

W C

C O

CC

C

C

C

C

C

C

5

4CC W CC CC C

C

C

W C C

W CC

3

CC

C C W C C W C

W CC CCC

C

C

C

C

W

C

C

CC O

C

C

p

g

C

C

13

! S O

#

C

C

C

C

C

C

W

5

C

5

C

4

C CC CC W C CC CC

CC W CC CC

C

C

W C C

C C

C

C

C

C

CCC

C

C

W CC C

CCC C

h

C

C

W

CC

C

C

C

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CCC CC CC

CC O

mf

C O

CC

C

CC

C

CC

C

W 4 2

C C

4

2

CC CC CC

CC

C

C

C

C

C

C

17

!

# C C

C

C

C

4

C

W

3

C

C

5

C

5

4 g

2

C

CCC W C CC CC

C

C

C

C

CC

C

C

C

C5

C CC CC C5

C CC CC C C

C

C

C

C

C

C

W

5

2

CC

3

1

4 4

CCCC CC CC C

C

C

O C O C

C C

f

C

C

C

5

4 5 g

2

C

CCC C C W CC CC CC

C

C

C

C

C

C

W 4 5

C C C W CCC4

C

C

PEL09 – 14 PEL07 – 18


#

#

#

!

!

C

C

CC

C

C

C

C

C

h

h

g

CC

C

h

C

#

CCC

C

CC

C

C

C

g

C

C

C

C

h

C

h

g

C

C

CCC

h

C CC

C

g

C

C

C

T

CCC

C

C

h

!

g

C

C

CCC

h

C

h

g

h

C

h

CC

C

C

CCC

C

!

CC

CC

g

C

C

C

h

g

CC

h

h

C

C

C

C

h

CC

C

CC

h

C

C

g

C

C

h

T

CC

h

CC

CC

g

C

C

!

C

h

C

C

CCCC

g

C

C

C

CC

T

C

CCC

CC

C

C

C

C

C

C

C

C

C

C

CCC

C

h

C

C

CC

g

C

C

CCC

h

CC

h

C

C

CCC

h

g

C

CCC

C

C

h

#

h

C

C

C

g

C

CCC

CC

C

C

C

C

h

C

h

h

g

CC

C

C

C

C

C

C

C

CCC

C

C

C

g

C

C

C

g

CC

h

g

CC

g

C

C

h

CC

g

C

CCC

C

C

C

C

C

g

C

C

#

C

h

C

CC

C

g

C

CC

h

g

C

C

C

C

C

C

C

C

C

CC

C

h

C

g

C CC

h

g

C

C

h

C

g

C

21

!

5C

CCOO

C

C

W C

C

W C C C C C3 W 4 C C W

C5

C W CCC3 4 5

CC C

C W C W C X CCO

W C C C O

O

C O

C X 5

C Y C C C

h

h

W CCO

C C CCC Y C

h

h

ten.

W C g

W C C mf

C

CC

C

C C C C

C W C CC C

C

C

O

O

C

C

C

25

!

29

#

33

!

4 3

5

C C C C C C C

g

Y

CCC Y C C C C C CC Y 4

5 C O C C C Y C

CCO Y C O C C C C

Y Y C CC C

dim.

C

C

C

C C C

C

C

C

C

C

Y CC

CCOO

! C O

Y

Y C Y C

Y

CCC X CC

O

X

Y

C

C

Y CCOO

O

X

C C Y CC

C T X CC

Y

O

CCCC

X

Y CCOO

C O

C C

C

C

rit.

CCCC

C Y C C

C C Y C

O

C

C

CCCC Y

Y

C

C

5

C C C Y

a tempo

5

C C C Y

X

4

g

C C C

4

cantabile

5

Y

O

pp

CCC Y C CCC C CCC C CCC Y C

h

h

pp

C O

C C C C O

C

Y C

Y

O

4

Y C C

O

C3

C

Y

C3

C CC Y CC Y

Y CCC

Y

Y

Y

O

X

CCC C

h

O

Y C Y CC

Y

Y

CCO

Y O

CCC C C C Y C C

Y

Y

X CC

37

!

Y Y CC C Y CC Y C C

Y

Y

Y

C C

C

C

CCC Y C CC X CC

C Y C

C Y

X CCOO

Y

Y

Y

CCC CC

O

Y CCOO

C C C C

Y Y CC C 4

C O CC Y C

Y

4C

C C Y C

CCCC Y

Y

Y

O

Y C CC

O

Y

2

1C

Y

C CC Y C

3

1C

41

!

Y Y CC

Y

O

Y 3 Y

1CC

h

Y Y

Y

4

2

1

X

Y

O

C C Y 4 1

Y C

CCCC W X C

C O

C g

W

W CC CC W CC W CC W CC

X

W W W CC

C

h

cresc.

W

5

CCC CC

4 3

C C C C W C

4

3

W CC

C CC

{ p }

O

PEL09 – 15 PEL07 – 19


h

h

h

h

h

h

h

h

h

h

h

h

h

g

h

h

h

h

g

h

h

h

44

!

#

5

C

W C C4

C 3 C W

4 C C W C T S W 3 C

4 C C3 C 4 C C W 4 C C

h

C 4 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

47

#

#

C

O C O C

!

C

C

C

W 4 C 3 C 4 C 4 C C C

C

C

C

C

C

C g

C

C

C

C

5

C

C

C g

C

3

W

C

C

C

5

C

C

C g

C

W C

C C C

C

C

C

C

C

4 4 3

C C C 4 3

C C C C W C C C C C

C

C

C g

C

C

C

C g

C

C

C

C g

C

O C O C

4

C

3

C

51

5

4

! T C C W C

C C 4 C

C

C

C

#

C C

h

5

5 g

2 W C

C4

C

C

5 C

W C

C g

C

5 O

C

C

C

C

4

C

4

C

W C C C

C

W C

C W C

C g

C

h

C

C

5 C

C

C

W

C

4 C

C5

W C

C3

C

W

C

4 C

C5

C

W C CC

C g

C

C

C C O

C

C

C C

54

!

#

W

C

C

W

C X C

O

W C C g

C C

C

ev`

C

O

C C O

C

ff

C

C

C

C

C g

C C C g

C C

ev`

C C C

C C

C C

C C C

C C O

C

allarg.

C

C C

3 - Y Y - 4

C C

Y C

C g Y C

C C Y C - Y C

Y C -

C 5-C

C

-C

lunga

? C O

O C

O C¯

[a tempo]

T

mf

C C O

C

C

C

C

C

C C

C

C C C C C

58

!

#

C

O C

5

3

g

C

mp

C

C

g

C C g

C C g

C C g

C C g

C C g

5

C C g

C

C

C C C

mp

C Cal

niente

C C C O

C C C C O

C C C C g

T T C C C O

C

C C C O

C

C

C

C g

C

C

C

O

O

C

C

C

O

O

C

C

C

O

C O

PEL09 – 16 PEL07 – 20


!

#

C

BBB

BBB

B

B

B

C

BBB

B

C

C

C

BB

g

C

B

B

BBB

B

B

C

C

g

C

C

B

BB

B

BBB

B

-

B

B

B

B

BBB

-B

BB

C

C

BBB

B

B

B

B

B

BBB

B

-

BBBB

R

S

B

B

C

C

C

B

B

C

C

C

S

C

BBB

C

B

B

B

S

B

C

B

B

B

B

-BBB

B

PIECE 1

from ‘SIX PIECES’ (1964)

6

11

!

C

mf

= c.144 ( = )

2 3 2

2 3 2

W - B O

O

C C C

O

O

O

mp

mp C C C C C C C C C

p

# Q Q

W W

O

mf -

! W O

W - O

O

S

O

O

O

O

mp C C C C C C C C C C C C C C

p

# Q

W W

W

O

mf

mf

f -

- B

W O

O

C O

C C C C C C C C O

O

O

C C C C C C C

C O

C O

O

mf

p

mp

# Q Q Q Q

Y O

18

!

26

31

!

C C C C C C B - O

C C C C C C W

W

O

p

mp

p

# Q Q

W BBO

O

O

O

p

X - O

B-O

O

B

! Y C

Y C C C C W

B S C1

W 2

W 4

2

W C X C

C1 2 3 Y C C C C W C W 3

X

O

B O

C O

mp

mp

mf

f

# Q Q Y - O

Q

O

O

X -B

O

O B-O

BBO

Y - O

W W - O

X -B

O

BBOO

Y - O

W

WX

O

pp

C

3

C C C C C C B C C C C B O

O

O

PEL09 – 17 PEL05 – 25


!

BB

BB

BB

B

BB

B

S

R

CC-

B

CCC

C

CCC

C

CCC

-C

BBB

B

C

BBBB

C

C

BBB

B

C

C

C

CCC

BBB

S

C

BB

S

C

g

C

C

C

C

-C

B

g

C

C

B

B

C

C

B

B

CCC

-C

g

C

BBBB

C

CCC

CCC

C

C

CCC

CCC

C

C

CC

B

CCC

C

CCC

BB

BB

S

C

C

BB

B

B

CC

g

CCC

C

C

CCC

CC

C

CCC

CCC

CCCC

C

BBB

B

BB

B

C

h

C

C

BB

h

C

CC

C

C

B

B

BBB

C

CCCC

C

C

R

R

POCO LENTO (1956)

Poco lento

O= c.54

4 2

1

3

! 12 O

C C C 2

C1

C C3 C C C C 8

Y C C C S O C C C C C C C C C C C Y C C C O C Y C C

C C C 6 8

p lontano

# 12 6 8 Y CCO

O

O

O

Y CCO

O

O

O

Y CCO

O

Y CCO

O

O

O

8

4

3

W

! 6 C C W C X W 12 8 C C

8

O

C C C C C C C C C C C C O

BBO

2C

C1 C C C C C C C C 4C

C

# 6

W W 8 Y BBO

12

O

8

O

O

CCO

O

BBO

O

O

O

CCO

O

O

BBO

O

O

7

W W B O

C C C C C C C C C C C C CCOO

O

# W W S O

CCO

O

C C O

O

BBO

O

CCO

O

O

CCOO

CCO

O

O

O

BBOO

O

O

O

5

1C

C C C C C C C C 3

C C C

O

O

10

!

4

2

1

1

W W O

C C C C C C 4

C

2

C C C

B O

C C C C C C C C C C C C O

X

CCO

O

CCO CCOO

O

2

6 W O

BBO

O

O

C X 12

BBO

8 C C C

1

-

8

ten.

# W W O

O

CCO BBO

O CCO

O

O

OW

W

6

X

O

O O

O

X 8

W CCOO

12

CCO

8

O

BBO

O O

O

CCO

O

BBO

O

O

14

! 12 8 C

# 12 8

Y C

C C C C 2C

C3 C C C C Y C

Y Y CC

h

CCO

O

C C C C 3

C2

C C C C C C C C C

Y Y

CCC C

O

X

W

Y C C C C

O

Y X

C C W C

O

X C C O

W

O

O

O

PEL09 – 18 PEL01 – 38


#

#

#

#

#

#

#

#

BB

B

B

C

h

C

C

C

C

B

#

C

C

C

C

C

C

C

C

C

C

C

g

C

g

C

C

C

C

C

T

C

CC

S

C

C

C

h

g

C

C

C

C

C

C

C

C

C

C

C

S

C

C

C

CC

R

C

C

C

>C

C

C

ALLEGRO

from FOUR PRELUDES (1942–44)

Allegro

Y Y Y Y Y Y |

p

Y Y Y Y Y Y | g

C.

B = c.84

Ċ Ċ

sempre staccato

Ċ C C C

C . C . C . C . C . C C C C

C C C C

C C C C

5

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

C C C

C C

poco cresc.

CCC C X C C C C Y C C C C C C C

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

X

ff

9

Y Y Y Y Y Y C > C

> C C C C C C C C

p

Y Y Y Y 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

14

#

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

Y Y Y Y Y Y C C C C

cresc.

C C C C

C C C C X C C C C

CCC

X C X CC CC CC CC C

X

X C C

C C

C C

C

C

ff

C

C X

X X CC

C

C

C

C

19

#

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

!

p

mp

f

Y Y Y Y Y Y CCCCC C ! C C C C C

1 B

5

C

X C C

T S B B AA

B

B C C .

PEL09 – 19 PEL01 – 24


!

!

C

C

C

CC

C

C

T

C

C

CC

C

C

C

CC

C

C

BB

B

C

g

CC

C

g

C

T

C

C

g

CC

C

C

C

g

CC

C

g

CC

C

CC

C

C

C

B

BB

-C

T

T

T

-C

B B B

g

C

C

C

h

C

C

h

T

BB

B

g

C

-C

BB

B

-C

C

T

!

C

g

CC

C

C

C

C

h

C

C

BB

B

C

C

C

C

C

C

C

g

CC

C

C

CC

C

C

C

g

C

CC

CC

C

C

C

-C

C

g

CC

C CCC

CC

C

h

T

CCCC

#

T

C

CCCC

C

h

C

C

C

C

C

C

C

C

C

CCCC

C

g

C

C

CCCC

C

C

!

!

CCCC

g

C

-C

CCCC

CC

C

-B

B

T

T

S

g

CC

C

g

C

C

g

C

CCCC

C

g

C

C

POCO ADAGIO

from SONATINA NO.1 (1946)

8

14

!

20

!

24

!

Poco adagio, espressivo C = c.60

3

W W

C CCB

3

#

B C C

4

mp

- C

C

C

- -

p

f

-

W - poco

O

O

X - O

# W W 4

3 C

h C

C C

h

C

C

C C

B

C

C

B

C

C

W g

W O

#

C CCO

O

O

CCO

C C CCO

O

O

f

mp

# W W CCO O

CC CC

W

W

O

C C

W W O

W C C

W C

B

B B

O

C C C C O T T

C

C

C

C

O

O

C-C - C - C OO C C C C C C C

W g

Y W C

S T C

X X

C

O

C

mp

C

C

C

O

CC CC CCC Y C CC CC CC CC C

CCO

Y C

O

-C

O

C.

mp

p

mp

ff

C C B

# W W CCO

W

O

Y X

C C O

CCOO

Y C C X !

C C O

O

C. Y C

Y C CC CC CC CC CC Y CC CC CC CC CC CC W Y C C C C C C C C C C C W CC CC CC CC CC CC

! Y C O

C C C C W C

W C

C C W C C C W C

X

1

CC

-C

Y

2

C

C

C

C

C C Y C Y

1 4

C

C

C

C

mf

p

BB

B

CC

CC

CC

C

C

C

C

-C

O

f

Y C C W B

T

W

W C

W CC CC CC CC CC CC W CC CC CC CC CC CC X CC CC CC CC CC CC C O C C C C C C C C C

! W O

C W C C W C W

28

!

W

O CCO

C C C C

C1

poco cresc.

W C

C W C

Y C C X C

O

1 C3

W CCO

X

Y C C C C W C

C C C C C C C C W 4 C W CC C CC CCC

C

4

C C C C C C

! Y X C CC CC CC CC CC CC CC CC CC

CC W C

O

C C C C C W C W

W

3

p

C CC CC CC CC CC CC

W C CC

C

sf

W

W 3

C

X 1

C

mp

Y C C Y C C C

PEL09 – 20

PEL04 – 7


!

C

C

C

C

C

C

C

C

C

CC-C

C

CC

C

C

B B

C

CC

C

CC

C

C

C

CC

C

CCC

C

CC

C

CCCC

C

C

C

CC

C

CCC

CCC

C

C

C

CCCC

CC

C

CCC

C

CCC

g

C

CC

C

CC

C

C

#

C

CC

C

C

,

C

C

CC

C-

CC

S

B

B

CCC

C

C

CC

C

h

CCC

#

C

C

C

C

g

C

CC

CC

C

C

-C

CC

C

CC

C

C

C

g

CC

-C

C

C

C

CCC

h

g

CC

C

h

C

h

#

CC-C

h

CCC

T

T

B

C

CC

CCC

jhl

igk

C

C

C

C

CCC

!

C

C

T

C

C

C

C

C

C

g

CC

C

T

!

T

g

C

-C

C

C

C

g

C

C

h

g

C

C

C

h

!

T

C

#

C

C

CC-C

h

T

CCC

C

CC

-B

jhl

C

T

C

g

CC

-C

g

C

C

CCC

h

#

#

,

C

-C

CC-C

CCC

C

CC-C

h

CCC

CC-C

CCC

CCC

C

B

B

C

C

BB

g

C

-C

C

C

CCCC

T

CC-C

h

g

C

g

CC

C

g

CC

-C

!

!

32

!

W C C C C

C CCC

1

O

Y

3

1

CCC

Y C

C CCC

Y C

C - C C

C C C C C C C C - C - OO

f

OO

C-C Y C

C - C CC

C-C

4-

CC-C

C

k

T OO Y C gi C

mf

CC -

OO C

C

CC Y C

C CC

3

Y

C

C

CC

CC

C

C

36

!

rit.

Y

W

C C C C W

C C C

C C

W

O

W

O

CC CC

ff

mp

#

Y C

W

C

W

Y C C C W X C

C W X

W

C

W

C

C

W

C

W C

a tempo

W B - B

CCO

O

W

W

W

W

C

C

O

C

C

C

C

C

C

O

O

41

!

W W C

#

C

CCOO

C

O

C C

O

CCO O

O

O

O

W

f

-B

B

B

p

B

C

C

C C O

C

C

C C O

# W W C

C

BB

-B

C-CCS T

O

CCO

O

W CC-C

C - -CC T

h

C

-C

CC

C

47

!

rit.

W OO

W #

OO

f

# W W OO

!

CCOO

OO

W

a tempo

p

C

C

C

C

X CCOO

T T

CCOO

O

BB

-B

C-CCS

OO

OO

f

CCOO

OO

CC

C

CC

C

C

C

C

C

rit.

CCC CC C

C

C

W

C C C C

-C

a tempo

p

CC

-C

C-CCS

CC

-C

52

!

W OO

W OO

W CCC

W # W CC

f

# W W CCOO

!

OO

C

C

C

C

C

C

C

C

ff

CC

pesante

CC

C

O CCO

CCO

O

O

CC

C

CC

C

CCC T

CC

C

W CCOO

CC CCOO

BB

B

CC

C

dim.

CC

C

CC

C

CC

C

CCOO

CCOO

O

57

# W W

C- CC

-C

CC

-B

BB

-C

CC

-C

CC

-B

BB

-C

C

-C

C

-B

B

O

pp

# W W CC C C C

!

C

-C -C C C

C

O

W -C

O

CCS W -C

O

B O

CCB- B C C O BBO

PEL09 – 21 PEL04 – 8


!

!

!

C

Ċ

Ċ

C

C

C

C

C

C

Ċ

C

Ċ

C

C

Ċ

C

CC

C

Ċ

Ċ

C

C

C

C

C

C

C

C

C

C

C

C

C

C

C

#

C

Ċ

C

CCC

Ċ

!

C

Ċ

C C

C

C

C

Ċ

CC

C

C

C

#

Ċ

C

C

C

C

C

Ċ

!

Ċ

C

C

C

C

C

CCC

C

Ċ

#

RONDINO (1952)

Allegro

= c.92

W W

W W 4

.

3 2 1

. W 4

3 C. C.

3

.

4. 1 2

Ċ Ċ Ċ Ċ 2. C C3

C C C

C4. Ċ Ċ Ċ Ċ Ċ C C C 2 Ċ Ċ Ċ Ċ C C C

4

p

# W W

W C C C W W 4

3 #

C !

2

.

C.

Ċ

C C

4

C

Ċ

. CC

C C C

4

4

5

4

5

3 5 2

W W

W W W 4 3 4 3 1 5

4

3 C C

C C C C 4ṁf . C C

. C

Ċ Ċ Ċ Ċ Ċ C C C Ċ Ċ Ċ Ċ C C C C C C

# W W

W C O

C C W W 4

3

C

C C Ċ Ċ C.

C C C

!

3 3

C.

C.

Ċ

C C

4

C

4

1

4

9

5

W W

W W W Ċ Ċ Ċ Ċ C C C C C 2 Ċ Ċ Ċ Ċ C C C C 4

C

3 4 3 1

4 4

3

2

C

4

C C C C C C Ċ

X C. C

C C C C

O

C C C C C C Ċ

X . . C

# W W

W W W 2 4

3 4

4

4

2

2

1

13

!

W W

W W 4 3 2 1 4

. W C. C. C. C C C C1. C2. Ċ Ċ Ċ Ċ C C C C C C 3 2 3 2

. C C. C. C. C C C Ċ Ċ

2 4

p subito

# W W

W W W !

C X C C Ċ

C X C C Ċ

C X C

C C C C C C

# 2 4

16

!

W W

W W W 2 4

4

3

2

1

4

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PEL09 – 22 PEL01 – 31


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PEL09 – 23 PEL01 – 32


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PEL09 – 24 PEL01 – 37


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PEL09 – 25 PEL03 – 11


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PEL09 – 26 PEL03 – 12


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PEL09 – 27 PEL03 – 13


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PEL03 PEL09 – 28 14


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PEL03 PEL09 – 29 15


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C

1

3

2

1

2

ff

O

B O

C

5

3

2

1

W

1

2

3

C

W 5

C

C

5

C

3

C

2

1

W

1

2

C

3

C W C

5

5

3

PEL03 PEL09 – 30 16


#

#

#

#

#

#

B

B

B

S

S

B

B

B

B

B

S

B

S

B

B

B

S

-

B

BB

B

B

B

B

B

B

B

S

S

-B

-B

B

B

B

BBB

-B

S

-

BB

B

-

S

S

S

#

B

B

S

87

92

!

eva

1

! W C

1

C

CO

2

C

3

C

5

C

CW

C

1

C

C CW

C

O

C C C 1

C

1

C C C C

CO

1

2

C

C 3 C 1 CW 4

C C C C

O O

loco

C3 C C 2 C CW 4 C C C C 4 C 2 C O

B - -

- C B O

C 3 C C C C C B C C C C C C C

O W

O

B O

dim. B B B BB B

O

B C BBO

-C

B

B

O

g

C

C

-

g

C

B O

O

f

1

C

2

C

4

C

2

1 4 C C C

CO

C C C C W C C C C

O O

98

! C C C B W B C

O

1

3

C

1

C

2

C

dim.

C C C

C 3 1

C C C C C C C C

B B C

O

W B O

C C B

C C C C C C C C C

B B O

103

!

4-

C C C C C C C C C C C C

B B O B B O B B O

3

C

pp

4-

C

B B

3

C

- S

C

5

C C

4 2

2

C

C 5

W C C C C C C C C C

S O

C

C C C W C O

C C C

1

cresc.

109

!

W

C C C C C C C C C C

S O

C C

C C C W C O C

molto cresc.

3

2

C

O

O

ff

C

C

W CW C C C WW C

O

O

C

C

W

B

B

W

BB

C WW BB

114

#

C WW C

O

dim.

C W B

C W B

BBO

O

O

O

W C BB

C W B

C W B

O B O B

O

O

W C BB

C

C

p

BB

O

B

B

BBO

O

BB O

W - WW

O

W BBO

O

W B B-? O

W BBO

O -¯

PEL03 PEL09 – 17 31


#

#

#

#

#

CC

C

C

C

C

C

C

C

g

CC

CC

C

CCC

g

CC

g

C

C

CCC

C

g

CC

CC

C

g

C

C

C

C

C

g

C

C

CCC

C

C

g

C

C

g

C

g

C

CC

g

C

C

C

C

g

CCC

C

g

C

CC

C

CC

g

CC

C

C

C

C

CCCC

CC

C

g

g

C

C

C

C

CC

g

C

C

C

CC

h

C

C

CC

g

CC

C

CC

C C

C

CC

C

CC

g

C

C

h

C

C

C

C

h

CCC

C

CC

h

C

C

C

C

C

CC

C

C

C

C C

C

g

C

CCC

h

C

C

C

C

C

g

C

C

CC

C

C

C

C

C C

g

CC

C

C

C

C

1

MODERATO

from THREE PRELUDES (1943)

! Y Y Y 3 T 8 p

Y Y Y 3 8

g

Moderato C = c.120

5

3

3

2

C T C C T Y C

C T Y C X

X C C C

X

C C C C C C C C C C C C C C C

C C

C CCC

C CC C C C

C C CC CCC X C C C C

C CC X C C

2

4

2

4

C C X C C C C

X C C C

C

6

! Y Y Y X C

C C

C W

Y Y Y

cresc.

X

W C

C

CC

C

5

3

2

X

C

C

1

CC

C

CC

C

C

C

CC

C

f

O

O

sf

X

X

5

3

2

X C C C C C X C

W

W

X

C

C

dim.

C X

X

X

X

X

O

O

O

12

! Y Y Y Y O

Y O

Y Y Y Y

Y

O

O

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

X CC C

X CC C

X C C

CC X C C

cresc.

C C X C C C C

X C C C C C C

X C CC

CCC

X CC

C

C CC

18

! Y Y Y

Y Y Y

X X

C C C

X C

X

W

X C

X W CCC

CC

C

C X C C

X CC C

CC

C

X

CC

C

X

X CC C

CC

C

X

CC

C

X

f

C CC

W X CC

X

CC

C

X C C

X C

X X

sf

W X CC

C C

X CC

W

W

C

C

X

C

C

X

23

! Y Y Y

Y Y Y

W X CC

C X CC

X C

dim.

C

C

X

X

g

X CC

X C Y CC

C

C

C

C

Y

Y

X CC

X CC

C

C

W W

C C C C

p

W W T C

! C C C C

h

Y C C C O C C Y C

X CC C

C C C C

X

C C C C

h

PEL09 – 32 PEL05 – 29


!

#

#

#

#

CC

g

CC

CC

C

CC

CC

C

CCC

C

C

h

h

h

C

g

C

h

C

C

CCC

C

CC

CCC

g

g

C

C

C

CC

C

CCC

h

g

C

C

C

CC

C

C

CCC

CC

C

CCCC

h

C

h

C

g

C

CC

g

C

C

C

C

C

CCC

C

CC

h

C

C

C

CC

C

CCCC

C

CCC

h

C

CC

CCC

CC

C

C

C

C

C

C

CC

g

CCCC

C

h

g

C

CC

h

CC

C

C C

C

C

C

C

T

h

CC

C

C

C

C

CC

C

CCC

h

g

CC

C

g

C

C

C

h

C

C

h

g

CC

CCC

C

C

C

g

CCC

g

C

CC

C

g

C

C

C

C

g

CCC

C

CC

jhl

C

jhl

CCC

C

CC

C

CC

C C C

C

C

CC

C

C

CC

g

C

C

C

h

C

C

h

C

g

g

CCC

C

C

30

!

W W

W W

C C CC

C C C C C C C

Y C C C O C C Y C

X

C C Y C C

CCC CCC T C C C C C X C C

C C CC

C C CC

C X C

C C C

h

Y

X C O

C C C

X X

X

O

mp

X C T

Y Y Y

Y Y Y

38

! Y Y Y C C

Y C C C1 O C2

C1

Y 3 4

C C

5

3

Y C C CC C

mf

p

! Y Y C

Y C C

C C CC

Y C

# X

X C

C

h

h X O

5

2

X

3

1

O

X O C X C

W C C

X X C

C O C X C

W C C

X X C

Y

X C C

Y

46

! Y Y Y

Y Y Y

X CC

g

X CC C C C

C

CC

C

T T C C C C

CCO

O

cresc.

X C C

C

X CC C

X C C g

C

C

X C C C

h

X C C C W C

W X CC

C C

X CC CC

C

C

f

C.

C.

CC

CC

sf

C

CC

CCC

C

CC

C

CC

C

54

! Y Y Y T CC C T C T

C C C C C

CC p

C C C

C

Y Y C Y

CCC CCC

X CC C CC X

X CC C

X CC C

X C C

cresc.

X C C

C C X C C C C

X C C C C C C

X C

W

W

CC

C

X

C

C

CC

C

60

! Y Y Y CC C C

Y Y Y C

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

X W W CC

W

W X C C

X

X W W CC

W

W X

X

X C CC

g

X C

X

65

! Y Y Y

Y Y Y

X W W CC

W

X CC C

W X C C

g

C X C

ten.

X CCOO

O

5

2

4

2

5

3

C O

T X C Y

T X Y

T

C C X Y

C C C C C C C C C CC

mf calando

p

O

X O

X CCO

O

Y

O

C O

1

2

1

PEL09 – 33

PEL05 – 30


#

#

#

BBB

R

AA

C

C

C

AAA

C

C

A

>

A>

B

>

A

C

C

C

B

C

A

A

C

A

C

C

C

C

B

R

AAA

C

C

R

C

A

AA

A

R

A

R

A

C

A

R

AAA

C

C

>B

B

A

C

C

C

C

B

A

AAA

>

>

B

#

#

#

#

#

FOUR PIECES

from NINE SHORT PIECES FOR PIANO (1965–66)

1

6

!

B = c.69

! 2

3 f

# Y OY

2

3

# O A O

AAO

4

W

11

! B S

A AAO

YY O

sf

# R

15

!

21

#

24

#

T

mf

S

Y C

Y C

Y

Y

Y C

ev`

X C

1

Y

X

mf

X

4

Y

O

2

X

f

> C

X

Y

X 1

C

W B >

X 3C

T

4> C A C

Y 5

mp

C C C C C A Y AAO

YY

O

# Q

!

S

AA AA O

O

f

X O C > C

Y C

Y C

Y C

Y C

B

>

O

mf

sf

W

Y C

A A O

AA A AA O R X A

mp

Y Y O

pp

Y Y R X 3

A

mp

> R W A

mf

Y

O

Y O A Y AAO

O

1

> O X B

pp

3 ev`

O

X C C > A C X C C C C C

X

mp

A AAOO

Y f C A OY

Y

! X

>

Y Y C B X B >

X > A

B

>

O

mp

5

Y C

Y C

Y C

Y Y O

pp

C

1

A

>

O

1

C W C

2

?

X

O

X

W 3 C C 5

3

W

ev`

p

A O

¯ AAO

pp

!

f

X 3

C

W A AA W

W B >

!

BBB

pp

f

Y

4

W A AA W

OY

C >

mp

W B

W W BB

2

S C

C

> W C >

ff >

Y

1

3> C

X 1

C

X 3C

W > C

ff

A AAOO

A AAOO

4> B

C3

Y B B B

sf

! YYY BB

3

A3> A O

A AAOO

PEL09 – 34 PEL03 – 1


g

C

C

T

>C

g

>

C

h

T

C

C

C

CC

>

C

C

h

C

C

T

AAA

> C

g

C

>

h

T

T

>C

C

Q

C

C

T

g

C

CC

>

C

C

C

C

>

C

T

C

C

g

C

>

h

C

C

C

C

C

C

C

C

C

h

g

C

C

C

C

C

A

C

C

C

C

>

C

>C

C

-

C

C

C

C

C

g

C

C

C

CC

h

T

T

C

C>

T

¯

¯

30

#

pp

#

C

5

Y 1

C

Y 2

C

Y 4 C C CC

A C C

W 1 C

W C C X C

1 2

Y O 3

5

!

S

mp

X B -

Y

Y

2

B

W 5

A

C2

X 2 C

1 C1

Y BO

1

?

2

C = c.108

! 5 8 T

! 5 8

4

Y g 3

1

mp

Y Y .

4

O

SO

C

C

C

C

T T Y C

g

Y C >

3

C

4

Y C T .

O

O

4>

C

Y . Y C. Y C . X C . Y C . S

5

3

W C C T Y C

g

Y

4

Y C T .

O

Y . Y C .

5

C

C

Y C . X C .

C

C

S

7

12

! T C C.

! Y C

W C >

! T Y C

g

! C Y >

Y C .

2

SO

T C

O

SO

17

! C C. C . C W . C.

! C

Y C C Y

1

4

.

S

C

C

S

5

C > W C

Y C >

O C O C

C.

O C O C

1. C. W C. W C.

3

4

2

T T C

1

C

O

1

C

C

. C. W C.

X C.

O

Y

5>

T T C

5

W C C C C. C . W C. C.

W C C C C C

C C > C > Ċ T C

1. C2. W C. W C. C. C. C. W C. W C

Y g

Y C .

O

C

>

C

O

CCO

SO

C > W C. T C . W C X C

3. . Y C

3

4

4

1

C

C

4>

CCT T C

5

3

W 2

C

W C C C C T

4

5

3

Y C C Y .

5>

T T C

C C C C

W

W C C C Ċ SO

S

C C

Y . S g

Y

4

22

!

!

Y C C C

> C

T C

>

C C C T Y C

g

Y .

2

C

>

W . T

Y

f

4

O

Y T Y . C Y C

5

dim.

.

3

C

C

O

Y C. X C. Y C. X C. Y C.

ritardando

C

C

O

X C. Y C. X C. Y C. X mp C.

Y

lento

O

3

S

Y

2

CC O

CCO

SO

#

p

CCC

C

W C

CC

C

CC O

CCO

CCO

C O

?

PEL09 – 35 PEL03 – 2


B

-

S

R

B

-

S

A

S

C

C

S

g

C

g

g

T

T

g

C

B

S

g

C

T

T

T


h

B

g

C

g

C

B

C

h

g

C

C

C C

C

T

C

g

C

g

C

C

C

C

B

C

g

C

C

C

C

C C

C

C

C

C

B

B

B

C

T

T

C

C

g

C

T

C

C

S


h

B

C

C

T

C

C

g

C

C

C

T

C

B

g

C

T

C

C

R

B

-

g

C

C

C

C

T

C

T

C

h

g

C

C

g

C

T

g

C

B

C

C

C

T

C


h

T

C

C

T

T

C

C

3

= c.138

C

! 4

3 W

5 8

2 4 4

3 5 8 4

6

C O C W C Y Y

X

W Y

C O C W C Y Y

[ p]

# 4

3 Y T 5 S g T T 8

2 S g T 4 4

3 S S g T 5 S g T T

8 4

6 . C.

W

C.

. X .

6

R O

S g

! 4

6 W . T S

1

5 Y

O

. T S S

8 Y C

2 4

5 8 4

6 4

5

O

O

Y O Y C X C

O

O

1

mp

# 4

6 T g W T 5 Q 8

2 S g

4

5 T T 8 4

6 S g T Y 4

5

W

C.

.

C.

C.

. Y

W . Y

T S h

Y .

11

O

2. T

5. T

! 4

5 O

4

3 C W

5 8

4 5 8

4

O

C C W C Y Y A C O C W C Y Y

1

mf

W .

p

# C

4

5 W .

T S 4

3 S S Y T 5 S g T T 8

4 S g

5 8

4

C.

. C.

C.

W W Y T g

. .

. C.

16

R O

S g

! 4 5 8 4

5 W . T g

5 W

O

8

C C W C Y Y

O

Y

1

C

poco accel.

2

C

Y 4 C C C C

# 4 5 8 4

5 5 Q Q

8

C.

W .

W Y T g T T S g

W

.

. C.

W

C.

.

1 Y C

21

ritardando

C4

1C

C

eva

C2

W C

a tempo

1

W 3 C5

C C C C C C C C W C C C C C C CC

! 4

3

fp

O W Y Y

p

# Q C

O

C

C

O

C C # S g

!

T T 4

3 S g

C.

.

B-O

O

B

2

W

W .

g

C.

T S S

PEL09 – 36 PEL03 – 3


C

C

C

C

C

C

C

T

C

S

C

S

C

C

C

C

d

C

C

C

C

C

C

C

C

C

C

C

C

g

C

C

C

>C

C

C

-C

C

C

?

g

C

C

>C

C

C

S

C

C

C

C

C

T

C

C

>

C

g

C

C

C

C

h

C

C

C

C

>C

C

C

g

C

C

C

C

h

C

g

C

C

C

>

C

>C

C

C

h

C

C

C

C

C

C

C

C

g

C

C

C

C

C

h

C

C

C

C

C

C

h

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

S

C

T

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

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

C

C

C

C

C

C

6

7

13

19

!

!

C = c.96

O

! 5 8 S O

p

! 5 8 W -

C

W C

-

W

C

C

W C C - C C W C

-

O

O

O

5

W

O

O

O

C

C

W C

-

O

O

W C C - C C W C

-

-

C O

7 C-C O

8

5 O

8

mp

7

¯ 8 W W W 5 W - C W C W 8

W

W 2 1

3

4

3

1

W

W

C O O

C C - O

O O O

O

W C

-

W C C - C C W C

-

C O C - C O

O

O

1

p

W C C C C

W

-

C

3

W

W C C - C

4

W

O

W 2 X 3 C O W - ! 7 8

5 W

8 W O W

W - C W O

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PEL09 – 37 PEL03 – 6


#

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PRELUDE (1950)

Quickly, with rather free rhythm

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PEL09 – 38 PEL08 – 4


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PEL09 – 39 PEL08 – 5


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PRELUDE (1951)

4

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PEL09 – 40 PEL07 – 2


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PEL09 – 41

PEL07 – 3


!

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ANDANTE COMMODO (1973)

Andante commodo

! 4 C

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# 4 R

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= c.58

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PEL09 – 42 PEL01 – 42


#

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PEL09 – 43 PEL04 – 17


#

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ADAGIO SOSTENUTO (1944)

Adagio sostenuto

# 4 T W

W C C C C C C C C

pp

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= c.52

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