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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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
O CCO
O
3
1C
O
O
4
C C O C C
3
C
1
3
O CCO
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
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
CC
h
C
C
CC
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
C CC CC CC C C CC
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
CCC C C
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
W CC
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
X . C. C. C. C
C C C O C X C C C C C O C X C C C C C O C X 1 C C C C B-
# W W
W W W 2 4 Ċ
Ċ
!
C C X C C C C X C C C C X C C C C X C C C C X C
X
2
5
PEL09 – 22 PEL01 – 31
Ċ
C
C
C
C
C
C
C
Ċ
C
C
C
C
h
g
C
C
CC
C
C
C
C
C
C
h
C
CC
CC
C
C
C
C
C
C
C
C
C
C
C
C
h
Ċ
C
Ċ
C
C
Ċ
BB
C
C
CC
C
C
C
C
C
C
C
C
C
C
Ċ
C
C
C
C
Ċ
C
C
C
C
C
C
C
CC
h
C
C
C
C
C
T
C
C
C
C
C
21
! W W W W W
O
X
X C C C C W C
4
3 Ċ Ċ Ċ Ċ Ċ C C C Ċ Ċ Ċ Ċ C C C C C C 2 4
pp
f mp
! W W W W W # C C C
C 4
3 !
# 2
X O
4
X X C C C W C C
C . . Ċ C C
C4
C
4
! W W W 2
4 2
W W 2 Ċ Ċ Ċ Ċ C C3
C2
C3
C C3
C4
C C C C C3
C2 C C C 4
C C C C C C C X C C
.
C 3 4 X C Ċ Ċ Ċ X
4
p subito
# W W
W WW 2 #
4 ! C C C C C C C C C C C C
4
3 !
4 3
5 . . X . X C .
X
26
3
5
X
X
C
1. C
2. C
X C
#
31
! W W W W
4. W Ċ Ċ Ċ X 5
C X C C X C
4. Ċ Ċ Ċ X 4
C C C X C C 2 X 4 . C Ċ Ċ Ċ 4
# W W
W WW X . X C.
#
!
!
X X C X . X C.
X C X
C X
3
5
3
5
X C
# 2 4
X . X C.
!
X
3
X 4 C C X O
5
X
X
X
C X C
X C C C
X
X C C X C
O
X
C X C C C X C
X
36
! W W W 4
5
2
W O W X O X
C
C X CC W C
4
3 C.
pp f p
! W W W W W X . X X
# 4
3 . X X
. . X . C X C
1 . X C X C C W CC .
3
2
4
2 1
. C. C. Ċ Ċ C C C
3
C
C.
C C C
4
2
1
41
! W W W W W Ċ Ċ Ċ Ċ C C C C C C
Ċ Ċ Ċ Ċ C C C C C 2 Ċ Ċ Ċ Ċ C
4
# W W
W WW !
4
#
C C C
Ċ Ċ C C C C CC C
2 4
cresc.
1
C C C C C C C C
C C O
5
C
C C
45
! W W W 1
W W C C 6 8
2 #
C C
C C C C . C. C C C C C C . C. C C C C C C . C. 4 C
ff
# W W
W C C WW C C
C C C Ċ Ċ
6 C C C C C Ċ Ċ C C C C C Ċ Ċ .
8
2 C
4
1
4
C C Ċ Ċ
C C C . C.
Ċ T S
g
C.
S
PEL09 – 23 PEL01 – 32
!
#
>
C
CCCC
CCC
C
C
CCC
CCCC
CC
C
CCCC
C
CCCC
C
CC
C
>
CCCC
C
h
CC
CCCC
CCC
CC
>
C
C
CCC
CCC
C
CCC
CCC
BBBB
CC
C
C
CCCC
CCCC
CCCC
CCC
CCCC
CCC
BB
CCC
CCCC
C
g
C
BBB
CCCC
C
CCCC
g
C
C
BBB
BB
>
C
C
g
C
g
C
CC
CC
CCC
CCC
C
>
C
CCCC
C
>
C
C
CCC
C
CCCC
CCC
C
h
BBB
CCCC
CC
BBB
CCCC
g
C
CCCC
C
C
ANDANTE (1950)
Andante C = c.72
! 4
3 Q Q
p
# 4
3 S T
CCC
* C 1 >
5 2
C
C
f
O
2
3
C-
dim.
BB
B
1
C O
C C O
CCC
B B
B
p
O
3
1
C C C C C C C
BB
B
6
# C CC
4
CCC C
2
CC
BB
B
3–5
1
CC
4
CC
3–5
CC
4
CC
C BB O
CC
C
1
>
5 2
C
C
O
1
C
pp
CCC B BB
4
2 g
CC
CC -
C O C O
CCC B BB
11 2
>
!
C
5
C
2–4
O
C CC
# CCC BB B
3
4
CC
5
3
C4
C
C5
3
C CC Y CC CC CC C
Y B B
B
cresc.
C C C
C4
C
C3
C
C4
C
C3
C
C4
C
1
>
5
C
2
C
p
Y B
CC C
O
Y
4
C C - h
15
!
C O C C O
BBB
Y CC C
O
3
1
C C CC CC CC CC CC CC CCC CCC CCC
BB Y B
C C C
4
5
cresc.
4
BBB
5
allargando al fine
19
! 4 4
3 4
# 4 4
3
C C C C C C C
-C -C -C -C C C C
CC
CC
ff
C
C
C
C
CC
CC
poco dim.
C
C
CC
C
CC
C
BB
B
* The grace notes are performed thus:
! C> C C C
PEL09 – 24 PEL01 – 37
!
#
#
#
#
C
S
B
BBB
C
S
C
C
C
C
!
C
C
#
C
C
C
C
CCC
B
C
C
#
C
C
!
BB
C
C
C
C
C
C
C
C
C
g
C
C
BB
C
C
C
#
C
C
C
C
#
S
B
S
!
TWO PIECES
from THREE SEA CHANGES (1945–81)
Moderato = 120
# 2 C C B 4 C C C B
!
pp
1
sostenuto
8
14
!
22
#
29
# 2 4 B B
1
W
3
C
2
W B B B
3
C
2
C
B
B
C S C
pp
1 4 3
C
W C
2
C
W BB B
CCC
B
B
2
W
! C
p
W W W BB
B
W 4
C
2
1
C
W W
p
W W W BB
B
2
C
B
B
1
C
W W BB B
B
B
C C B
W 4
C
W BB B
W BB
W W B
3
C
2
C
W 2
C
W
B
B
3
C
4
C
pp
B
B
W
W
B
B
W W W
B
1
4
C
3
C
2–1
C
+p ritmico
W B B W B
W B
B BB BB
4
C
3
C
2
C
p
W B B W B
W B
B BB BB
C C O C
W 3
C
W W BB B
W
W
W
B
B
3
C
2
C
1
C
4
C
3
C
4
C
3
C
2
C
2
C
W
W
W 4
C
3
C
2
C
W 4 C C C C
C C C C C C B
W C
1
B
B
2
W3
C C
W W W
B
W 2
C
W W BB B
1
C
W
2
C
1
2
C
C1
W 4
C
C
C
pp
C
C
C
C
C
C
2 5
C
C
W BB B
1
C
B
B
B
B
2
C
3
C
1
C
34
!
3
C
2
C
1
4
C
3
2
C
3
C
1 2 1
2
2
4 3 4 3
W
C C C
C
C
C C C
. C
W . . C
. C.
mf
# W BBB B
W BB W B
B B B
Q
1 3
W4
C
2
1
C
4
PEL09 – 25 PEL03 – 11
#
!
#
!
#
C
-BB
C
C
C
C
C
!
C
C
g
C
B B B
C
C
T
C
g
C
C
T
BB
C
C
C
C
C
C
#
#
C
d
C
C
C
C
C
C
C
C
!
B B B
C
C
C
C
C
C
h
C
C
C
C>C
C
BB
B
B
C
C
BB B
C
C
BB
C
C
C
C
C
B
B
BBB
C
C
!
!
#
#
!
39
#
3
C
2
1
. C. C.
B
B
4. Ċ C - C B B BB B B B
-
C.
C.
B
B
B
B
p
B
B
B
B
pp
B
B
B
B
47
!
W
pp
W B B W B
C C C
C
W C3
W 4
G
W
3
C
2
C
W
W
W B B W B
C 3
C4
C W 2 C
W
1C
C2
C3 W 4
C
2
C
W
W
53
#
B B W C
!
p
B
B
B
B
W BB W B
C C W C
W BB
B
3
C W 4
C
G
3
C
1
C
W 2
C
W
W BB W B
1C
W
poco cresc.
C C C
W BB B W W B
W
C C C
60
!
W C C C C W C C C
4
2 C3
C
C W 5 C
C1
C2
C3
W
C C W C C C W C
W
! W BB
B
W B
BB
W B
W BB W B
W BB
B
W
66
!
mf
W C C C C W C
dim.
C C C C
BBB B C
p
1. C
2.
1
C C
Ċ Ċ C
pp
5. C2. 1
C . C Ċ
senza pedale
72
#
1
. C.
2
C
5. C Ċ
Ċ Ċ C
cresc.
Ċ Ċ C Ċ Ċ C
C
C
mf
O
C
C
C
C
C
C
W > C
W
2—
1—
W C.
C Ċ C
cresc.
C
C
PEL09 – 26 PEL03 – 12
#
!
#
g
C
C
CC
C
BB
B
C
T
C
C C
g
C
C
C
T
#
CC C C
C
C
B
BB
C
C
C
CCCC
C
C C
C
C
C
C
C
C
C
C
!
CC
C
!
C
C
C
C
C
C
C
C
BBB
!
C
C
>
C
h
C
C
C
C
C
C
C>C
B
T
C
C
C
d
C
#
!
CC
B B
C CC
Ċ
C
Ċ
#
78
!
5
C
4
C
W
C C C C W CC
C C CC C
W W C Ċ Ċ Ċ C . W 2
4 3 2
C W
2
C.
C. C .
G
C.
C .
C. . C C.
f
! Q #
W C C W C
W
W
W C C C
W
B
B
84
#
1 3.
C-C C
2. C C
-
mp
C.
C.
Ċ Ċ C C W C
C W
O
O
C
C
C
C
W
2 g
W
W
C
C
C
C C
W B B W W B
>
C
C
W C C C C C
90
!
W C C C C W C C C
1
C
2
C
1 3
1
C
C C C W C
2
C
C C C C C C W C C C C W C C C C3. W 4 C.
W BB B
W BBB
BB
B
BB
BB
W BB
B
BB
B
96
!
102
!
107
!
B
BB
W CCC
C CCC C
! CC W C C
CCCC
{eva}
mp
5>
C
W CC
C
3
C1. C2. C
W
Ċ Ċ C
C
C
mf
O
2
W C Ċ Ċ Ċ C
C C C
C C C
W CC
C
C 2
C2
C3
C4
C3
C C1 W 3 C C C
W
C
C
C
>C
C
C
C
C
W > C
eva
f
W BB > B
W
C. C C. C
C C C C C C C C W C C C
W C.
C ĊC W CC
C
C
W
C 1
C C C W 4
C
G
W >
W >
! W W
BBB
BB B CCOO
Q
>
CCCC C > C
W > BB B
C>C
C
C CC
3
C
W CC
C
2
C
CC
C
1
C
C C C
PEL09 – 27 PEL03 – 13
#
#
C
S
-
BBBB
B
-
B
S
C
BBB
B
-
C
C
-
-
BB
B
B
-
S
-
BB
B
B
-
S
S
S
C
C
B
C
C
S
BBBB
B
S
S
B
B
B
C
BB
B
S
C
S
C
S
C
C
-
#
-
B
B
B
-
C
S
?
?
C
C
-
B
B
B
-
C
S
C
C
113
!
{eva}
3 C C3
C
loco C
2
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
ff
! Q Q # S Ċ W C . Ċ B B
B
118
!
# B B
B
C C C C C C C C C C C C C C
3
W X
B
B B
C C C C C
B
BB -
B B B -
B B
B
3
1
W
mf
B
B
124
# C C
C C C C
C C C3
130
#
B
B
CC
C
dim.
C
C
CC
C
C
C
B
B
rall.
BB
B
B
B
BB
B
B
B
ff
B
B
C C C C W C C C C C C C C B
W C
C
BB
B
B
B BB B B B
B
B
B
B
B
B
B
B
B
B
B
B
sff
B
B
pp
2
O
= c.72
! 4
3 9
8
p -
# 4
3 9
8
O
O
O
O
O
1
pp
2
C
2
4 1C
C C C
O
C C C C3
C
O
O
-
C C C C C O
O
BBOO
O
BBOO
O
8
! O
# O
O
C C C
3
C C C C
O
C C C C
O
O
1
C
4
C
3
C
O
O
O
W BBOO
O
O
O
BBO
O
C C C
3
C C C C
O
C W C C C
O
O
PEL03 PEL09 – 28 14
#
#
#
CC
B
B
BB
B
B
B
B
BB
C
C
C
C
S
C
B
B
BBB
S
B
B
C
C
B
B
C
S
S
B
B
B
BB
S
B
B
B
B
S
C
C
BBB
B
S
B
C
C
BBB
BB
B
S
S
B
B
C C
B
-B
S
C
C
C
C
S
S
B
B
B
S
S
B
-B
C
C
S
S
S
B
B
C C
C
B
B
B
C
C
C
B
B
S
C
C
BB
S
C
S
B
BB
B
B
S
S
#
!
15
5
! C C C C C C C C C O
W
C C C
O
O
# O
O
BBO
O
O
C C C C
O
C C C W 3 C C C C C O
O
O
O
21
! BB C C C B O
# B
B
poco cresc.
O
O
C C C C C C C W C C C C C
C C C O
O
O
O
O
BB
C C C B O
B
B
C
C
O
O
C C W C
27
!
W C C C C
O
C W C
O
O
C C C C C C C O
C C C C C C C O
C C C C C C C O
C C C C C
O S O
C
C C C W O S O C C C W O S O C C C W O
O C
O C C
cresc.
32
#
ff
C
C
O
O
W
O
O
C
C
W
B
B
W
W C C W W C
BB C C W W B
O
O
dim.
W W
BB C C W W B
C
C
W
O
B
W O
B
W W
BB O
39
! O
p
O
Y O
Y
W O
Y Y
Y
Y O
Y
O
S O
C Y C C Y C C C C Y C
Y C C O
O
O
pp
Y C C Y C
O
O
Y
BBOO
Y
O
Y
Y Y
Y
O
O
46
! S O
# B
O
O
S O
C C C C C C C C C
O
C C C C C C C C C C C
C C C
O
O
C O
O
O
O
O
O
C C C
O
C C C C C
O
O C C
PEL03 PEL09 – 29 15
#
#
#
B
BB
BB
B
C
C
C
B
C
C
S
B
BB
BB
B
C
S
!
CC
S
B
B
C
BBB
C
S
B
S
B
BB
C
C
B
B
C
C
BB
S
S
C
C
C
B
C
C
C
S
C
C
C
C
C
C
B
B
C
C
C
B
BB
B
S
C
B
B
C
C
S
C
S
S
C
C
BB
C
C
C
S
C
B
#
C
B
B
B
B
B
C
S
C
C
C
C
B
B
B
B
S
B
B
C
S
C
C
S
C
C
S
C
C
C
C
!
B
BBB
C
B
C
C
C
C
C
S
B
B
CC
C
#
C
C
C
S
S
C
C
BB
C
C
C
C
C
C
C
52
! C C C
57
!
# O
Y
Y
O BBO
C C C C O
O
O
C B Y 1 C C Y C
Y Y Y
O
Y
O
5
4
2
1
O
5
C
Y C X C
1 C1 Y 3 C Y 4 C Y C
Y
C C C C C3
O
C3
4
B
BBC C C Y C
O
C C C3
C C C3
C C C3
C C Y C
Y
C C C Y 4 C
C2
cresc.
C C C C Y C
Y Y Y
O
1
C C Y C
Y
1
C4 Y 5
C
Y C C C C Y 4
C
C C C Y C
S C C C
62
!
69
#
# Y C
C
C
C C Y C
O
W
B
B
W
4
Y C C C C C C
O
O
W CC BB
X O
O
ff
C
C
C
C
W
O
W
B
B
W
O
O
C
C
W
B
B
W
W C C W W C BB C C W W B
O
O
C
C
W C BB O
B
B
dim.
p
O
O
O
O
O
C
C
W
B
B
W
W W C C BB C C W W B
O
O
O
O
O
5
3
C
C C W C O
W W
C C C C
O
3
O
2
4
O
77
!
# O
BBO
O
cresc. poco a poco
O
O
O
3 3 2 4
C C C O O
C C
O
C C C
O
O
W
W C
5
O
3
W
2
W
3
C
O
2
C C W C
W
O
1
3
4
O
W
W
OW
W
3 4
W C C W
W
2
1
W
2
83
!
W
1
W
O
W
3
C
5
C
3
C
W
2
1
2
2
C
C C C
O
3
C
2
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
CĊ
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
CĊ
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
CĊ
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
O
CCO 7 8
mp
p
O
! 7 8
5 8
7
W
W W W W O
X
1 4
2
1 2 W
C C C C
W
C C O 8
W
-
g
W C
W X > C C4
C C C C O
g
C C>g
C C > g C
C
C C O
! 7 8
3 8
5 8 W 6 8
5 8
mp
mf
! 7 3 8 8
5 8
6 8
5 8
W
W
W W W W O
W C
W
W O
O
1 4
2
W
W
W W W W W O
4
3> 5 1
2
C5
C
2 1 C2
C
?
25! > O C O
C C > C
C C > O eva
7 8
9 C C 8 O B B
O
f
! 7 #
8
9
8 !
W
W
W
C C W C W W > C C > W O p
C
W W
W
1 2
3 X C C
O ¯
W B
30!
5 ? ?
7 8 W
W C 8
5 8
7 8
5
W O C T C - O
g
O
O
C O C O C-O O C C O
8
pp
mp
! 5 7 8 ¯ 8
5 8
7 8
5
C C C
8
W
C C O
W
W
C W W W W - p
O
1 4
¯
2
W
W
C W W W W W O
1 4
3
5
-
C
O
W
C C
W
3
2
5
8
5
8
PEL09 – 37 PEL03 – 6
#
#
#
CC
C
C
C
C
B
CC
g
C
C
h
g
C
g
C
C
BB
CC
C
C
C
C
C
CC
C
C
h
g
g
g
C
C
C
B
C
C
C
B
C
C
C
CC
C
C
C
CC
C
C
CC
C
C
CCC
B
B
CC
C
C
C
BB
B
-B
C
-B
B
-B
C
B
-B
-B
-B
CC
-A
AA
-AA
-A
-AA
A
BB
A
B
C
C
C
C
C
C
C
C
C
CC
C
C
C
C
PRELUDE (1950)
Quickly, with rather free rhythm
! Y7 4
Y 7 4
3
B
1p
1
2
C
2
3
C
1
2
C
5
B B C
2 cresc.
1
1
C
2
2
5G
C
2
sf
B
B
C
C
p
O B O B
C C
C
C
A
A
B B
C
C
O B O B
C
C
A
A
B B
2
C
2
O B O B
3
C
1
2
6
. . . .
! Y C C C C C C C C C
O O
C C C C CC C
C C C C C C C C C C C 2
3 B
. . . .
B
p
5
G C 3
1
4
B BB -
B B -B
Y 3 2
7 4
p
7
4
10
3 2g
3 g
. . . .
! Y7 4 O O C C C C C C C C CC C C C C CC C 2 B 4
7
C C C C C C C C C C C
. . . .
B
1 h
2
1 h
Y 4
7 2 B-A 4
7 !
-A
ten.
C C C
14
3
C
! Y
C C X 1 3
W C C C C C C X W C C C
4
5
C C C X W C 4
7 X B- B B- B S
G
G
G
C
cresc.
f
p
! Y
C C C C 4
5 4
7
C C C C C C C C C C S
C B- B-
18
! Y O O C C C C C C C C ĊC ĊC ĊC ĊC C CC C 2
3 B B B 4
7
B
! Y 2
3 #
O O
4
7
C C C C C
!
C C C. C . C. C. C C C B
A-CC C
B-
RO
PEL09 – 38 PEL08 – 4
#
#
C
C
C
BB
C
C
B
B
B
C
B
B
>B
B
C
B
-B
BB
BBB
C
R
BB
BBB
C
C
BBB-B
C
S
-A
AAA
C
C
ig
C
>C
B
B
>B
B
BB
C
CC
C
C
C
R
C-
C
C
CC
C
C-C
CCC
CC
C
C
C
C
C
AAA
C
B
C
h
C
h
C
C
C
C>
C
BBB
B
B
C
ig
C
>
h
h
C
CC
C
C
C
C
C
CCC
C
h
h
CĊ
CCC
C
C
B
CĊ
C
B
CĊ
C
C
C
BBB
B
B
CĊ
C
C
g
CĊ
C
B
CCC
C
C
A
C
B
CC
C
CC
CCC
C
C
C
22
g
C
5 3
2 1
! Y B > O C B > B O
2
3
g
C
f
! Y R R CC C C R R CC C C 2
3 S ĊC ĊC ĊC C
> Ċ Ċ
g
C
C
CĊ
C
CĊ
C
CĊ
C
C>C
> .
CĊ
C
C T #
4
7 B B
ff
Ċ T #
4
7 B
B
BBC C C
O
C C C
26
#
29
Y ! 2
3
C C C C C C C C C C C C W C
X W C C X X C C W
X W B B X X C C W W C C
C X X C C W
X W B B X X C C W W C C X X C C
dim.
K C C C W C C W B C C C W B C C C
Y 2
3 C C C
O
! Y3
W B B
2 4
7
W C
XW B
C CC
W C C CC
2
3
W p
cresc.
ff
Y 2
3 ! 4
7 #
W C OO W C OO BBg ! 2
3 CC. C.
CC C . C.
33
W
! Y3 BBB B- B
2 B B W B AA - A C O O C C C C C C C C ĊC ĊC ĊC ĊC CC CC CC
A 4
7 2 f
! Y3 #
-B
O O
2 W B B
! 4
7 C C C C C C C ĊC ĊC ĊC ĊC 2
B-A
CC CC C
-A
37
! Y2 2
B
B
B B A-
B 4
7 A A
A
mp
C C C C
G
C C
X
W C C C C C C
G
C C
X
W C C C C
! Y2 # 7 2 4 ! 4
5
B-A B C C C C C C C C C C C C C
cresc.
più lento, allargando
41
! Y5 C C
?
X W C 7 X BB W C- g
3
4 G
4 C C W -BB BB
2 W B BB CC
AAOO
AAOO
-B -B B B W B B A-
f
p mf cresc.
ff dim.
! Y5 4 4
7 2
3 #
C C C B B¯
C-C W
B
O
- C- B- B- B - B
5
4
PEL09 – 39 PEL08 – 5
C
C
C
C
C
C
C
h
d
C
CC
h
CC
h
CC
h
T
T
T
CC
h
CC
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
h
CC
h
T
CC
h
C
h
C
h
g
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
CC
h
C
CC
h
g
C
h
T
C
C
C
C
C
CC
C
C
C
h
C
C
CC
h
C
C
C
C
C
C
C
CC
h
C
C
C
C
g
C
C
C
C
C
C
C
CC
h
T
C
CC
h
C
C
C
T
C
C
C
C
C
CC
h
CC
h
C
T
C
C
C
C
C
CC
h
CC
h
C
C
T
C
C
C
C
C
C
C
C
C
C
C
C
C
C
h
C
C
C
C
C
C
C
C
C
CC
h
C
CC
h
CC
h
T
CC
h
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
Ċ
C
C
CC
h
T
CC
h
CC
h
CC
h
CC
h
T
T
CC
h
T
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
PRELUDE (1951)
4
Poco lento, mesto
! 6 8
pp
! 6 8 Y C
5
-
Y
1
Y
2
Y 5
C
Y 3 C-
Y -
2 1 C
T C - T Y C - T
C C
Y
Y
Y
Y -
C C
C C
Y -
Y
Y
X C C
sim.
X C - T
-
C C
Y
Y
Y
Y - T C T
! X C - T C - Y
T Y C - Y
T C - T C - Y
T Y C -
Y Y
Y Y
X W
Y
C C
Y
C C
Y
Y
Y -
W
4
Y
W
Y
C C
Y
7
!
!
!
10
#
#
14
!
W
Y X Y
-
Y - T X C - T Y
Y C - T
W
X
W C-
C-
Y C-
Y
Y
mf
Y
Y
Y
X
X
Y
Y C
W
Y C-
O
C C
C C W
Y
C- C- C- C-
O
Y C-
Y
Y O
C C C
cresc.
X
#
Y C C C W C
Y
Y C h
O
Y C C O C C
O
CCO
O
C- C- C- C O
#
CC
C
Y
4
!
!
pp
Y
Y
Y
Y
Y -
C-
C C C
Y
Y
T C - W T
5
T C - T Y C-
Y
Y
Y
X
C-
Y
C C
Y
C C
Y
Y C
!
18
!
!
C-
Y C C
Y
Y
Y
C- C- C- C
#
Y
#
Y
Y
#
Y
C C- C - C
C C C - C - C
C C
C O C !
mp p
C- C
C
O C O C
C
C
!
C-
!
Y
C C
Y
C- C- C- C
#
g
C.
!
C C
C C
PEL09 – 40 PEL07 – 2
!
#
#
#
#
#
C
S
C
CC
C
C C
h
!
T
C
C C
h
C C
h -
!
C
S
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
CCC
C
C
C
S
C
C
C
- g
CC
C
C
C
#
g
C
C C
h
C
CC
C
C
C
CCC
C
C
C
C
C
C C
h
C
C
T
C
C
C
C
C C
C
!
C
C
C
C C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
h
C
C
C
C
C C
C
C C
h
g
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C C
h
C
C
C
C
C
C C
h
C
T
C
C
C
#
C
C
C
C
g
C
C
C
C
C
C
C
C
-
C
h
C
C
C
C
C
C
CC
C
C
C
C
#
#
C
C C
h
C C
h
- g
CC
C
C
C
C
C
C
h
g
C
C
h
C
C
C
C
C
C
C
-
C
C
C
22
!
C-C - T C - C - C - C T C - C - T C - C - C - C - C - W
W
W C -
X .
C .
C .
h
cresc.
g
C.
C.
W
25
! C - C - T
W
W
C-C - T
W
W
W
- W C
W
W
W
W C
C
W C - W C - C - 1 2 3 5
W
C
W
W W
C
W C
W W W
4 C
3
f
C
2
1
W
# W W
W
g
W W
W
5
3
2
1
5
.
27
!
W C C C W C - W CC
C - W W C
-
W C . W . C W C
W
O
W Ċ Ċ
dim.
W C.
W W
W
. .
5
W
W
W
W
W
W
W - C - 3 4
W
C T -C
C- T
W .
W C.
W W
. h
W
W
W
W
W
C C C
30
! W 3 C-
3
- C- X C- C W
C- W C- C- C- C - C - C - C- C- C- C C W C- W
W
W C- C- C- O
4
C
O
p
Y
W
W
X
C C C S
Y Y
Y
Y
X C C
X
Y C C - O C
CCO
W
W
34
!
C T W C- C- C- C O
C T W C- C- C- Y
Y C - C - C - C O
C T
W
W
W
W
W
W
Y
Y
Y
C C C
- -
C O
C C C C
h
C C C
Y C C W C
-
C
- -
C O
C C Y
C h
C C C W C
38
# Y C- C- C-
W C- C- C- C- C- C-
W C- C- C-
Y
Y
X
cresc.
Y
Y
Y
Y
X
T C- C-
X W
Y
Y
O
W - C C C - C C - C O
mf
Y
Y
Y C C g
Y O
O
-
-
O
C
-
C
O CCO
O
CCT
T
PEL09 – 41
PEL07 – 3
!
#
!
!
#
h
R
C
C
C
C
C
C
C
CC
C
C
C
C
C
h
C
h
g
C
C
C
C
CC
C
C
C
C
C
#
C
C
C
C
C
C
C
C
h
C
C
C
C
C
C
C
#
C
R
C
C
h
C
C
C
g
C
?
B B
g
C
C
C
h
C
C
g
C
C
C
C
?
C
!
!
C
C
T
T
C
C
h
C
h
C
g
C
B
B
C
C
B
C
C
C
C
S
C
C
C
C
ANDANTE COMMODO (1973)
Andante commodo
! 4 C
mp
# 4 R
Y
= c.58
5
2
C C C C C C C C
G I
W Y X O
C C Y C C C C X C
W
W B
B
J
R C C Y C . Y C . C . C Y
1. . B W B
4
7
! C C Y C
# g
C
W
O
C C C C
W B
B W
1
C3
C
B
B
G
C-C C3
C C C4
4
C
4
C C C C
K
3
C C C C C
K
C C C
W
C
C T T
Y
Y
O
R C C C . C . C . C .
rall.
W
G I
C C C . C. Y C. C
2 1. C. C. Y . C
J
C. W C
p
C C C > 4
Ċ C . . C C . C .
W
a tempo
W
p
W
O
C C C Ċ Ċ Ċ T h
W
C C C
10
!
C C C Ċ Ċ Ċ
O
Y C
4
Y 3
C
3
C
Y
C O
T
C
h
1
C C C C3 . Ċ Ċ T
C
h
W
W
W
C B B B C
W
W
W
W
C C C
13
3
1
!
C C C C . Ċ Ċ
W
W
W
C B BB
O
X C
4
C
Y 3 2
C C C C C
5
C C C W 1 C
C- C C C C
I
Y
Y
Y R Y
B B
C C4
3
C C C C
J
16
4
! C C
W Y
O
C
C T S C C C. C
J
Y . Y C. C.
C. C C Y C
C C Y C
O
1
O
O
CCS
PEL09 – 42 PEL01 – 42
#
#
#
#
A
d
T
h
A
A
AA
A
B
-A
A
¯
¯
B
S
#
#
B
g
g
BBBB
B
A
A
B
B
h
¯
h
BB
B
>
B
T
h
S
A
#
T
,
h
h
>
¯
-B
A
A
#
,
S
#
h
#
B
A
A
¯
¯
h
h
‘UNTITLED PIECE’ (1965)
!
!
!
C = c.72–76
( pp ) C - B - eva
T C C W C
f
g
C
C
C
W
W
34 A
p
C
5
C
2
C W C
1
2
3 2
1
W C
g
C
f
C
pp
C
O
C
1
f
C
C
W C O
C
O C
5
C
!
W
5
C
1
p
C
W C
C
C
C
C
pp
O
C C X C
- B - T W 1 C
W
C
mf
C
?
C
3 C5
X
3
p
C
O
mp p
W C O
1
C
!
C
C
C C X C
C
?
3
,
1 2 3 4
!
5g
C
W
A O 1
f
ff
1C O C O
R A C C
5
2
1
X
W
>.
W C
h
2 1
3
X 5 1
C
W C
C
1
C
2
C O
5
!
W C
3
X C O
1
C
!
!
C
C
3
2
C
C
1
1 2
W C
C
3
C
1 2
? 5 W B B 5
W C C
X C
?
B O
W C
R S X
C X C
X
W C
C
C
1
p
sff
pp
p
5
C C C C C C A
X C O
W A
G
A C 1 1 2 3 4
W C
C
4 5
W C C
B
3
4
C
7
W
5
C
C
1
1
C
C5
W C
!
C
W
C
C
C
!
1
C
C C C C C
G G
3
2
1
2
1
C
2
1
X C C
1
2 3 4
W C
C W C
O
5
1
eva
? > ?
T 1 C 2 C> W 3 C> X > 4 C
3
O C 2>
W C W A
5
f
C
W C
1
fff >
C O
W
C
1
5
2
X
lunga
( mf ) ( ppp )
PEL09 – 43 PEL04 – 17
#
#
!
!
C
BB
C
C
B
C
C
CC
S
g
C
g
C
C
C
#
C
C
C
g
C
C
C
C
C
B
B
T
BB
BB
B
C
C
C C
C
CC
C
C
g
C
C
C
!
#
!
C
C
C
C
C
C
C
C C
C
C
C
C
C
CC
C
C
C
g
C
C
C
C
#
C
C
!
C
C
C
g
C
C
C
C
C
C
C
C
C
C
!
!
C
h
g
C
g
C
g
C
C
C
C
C
C
C
C
C
C
g
C
C
g
C
C
ADAGIO SOSTENUTO (1944)
Adagio sostenuto
# 4 T W
W C C C C C C C C
pp
# 4 B
B
X C
g
- C
= c.52
C
X
X
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PEL09 – 45 PEL01 – 41
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PEL08 – 34
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PEL09 – 48 PEL08 – 36
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