Christmas Pieces: 58 Miniatures for Piano

Douglas Lilburn
Christmas Pieces
58 Miniatures for Piano

Douglas Lilburn
Christmas Pieces
PROMETHEAN EDITIONS
WELLINGTON

Douglas Lilburn Christmas Pieces (PEL10)
All works © Alexander Turnbull Library Endowment Trust
Published exclusively by Promethean Editions Limited
First edition © 2025 Promethean Editions Limited
Publisher: Ross Hendy
Series Editor: Robert Hoskins
Music Editor: Rod Biss
Music Typesetters: Jared Commerer, Ben Woods, Thomas Liggett
ISBN 978-1-877564-69-7 (print)
ISBN 978-1-77660-530-9 (ebook)
ISMN 979-0-67452-290-8
Promethean Editions Limited
PO Box 10-143
Wellington
NEW ZEALAND
https://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
Christmas Pieces
INTRODUCTION
Douglas Lilburn Biography .........................................4
Collections .......................................................................5
MUSIC
A Musical Offering .........................................................6
‘Christmas 1942’........................................................... 13
‘Christmas 1943’........................................................... 22
‘A Christmas Offering’................................................ 29
A Christmas Offering for the Bensemanns........ 57
PEL10 – 3

INTRODUCTION
DOUGLAS LILBURN BIOGRAPHY
Douglas Lilburn (1915–2001) grew up on ‘Drysdale’, a hill–country farm bordering the
mountainous region at the centre of New Zealand’s North Island. He often described his
boyhood home as ‘paradise’ and his first major orchestral work, Drysdale Overture (1937),
written while a student under the aegis of Ralph Vaughan Williams at the Royal College
of Music in London, conjures up the hills, bush and stream as primal sites of imaginative
wonder. Recalling the impression of Drysdale Overture, Lilburn wrote: ‘I’m left with that
lovely Mark Twain image of Jim and Huckleberry drifting their barge down that great river,
looking up at the stars and wondering “whether they was made, or only just happened.”’ At
this time Lilburn wrote his Festival Overture and the Sonata 1939, together with other works
that expressed national pride: a cantata entitled Prodigal Country (1939), and the Aotearoa
Overture (1940), which has become a New Zealand classic. Although these works were written
in his student years, their content, style and general confidence reveal Lilburn as an
achieved artist.
Returning to Christchurch, Lilburn banded together with an innovative group of painters,
poets and publishers who were to prove influential. Settings of Allen Curnow and
Denis Glover, for instance, resulted in two iconic works: Landfall in Unknown Seas (1942),
a voyage of spiritual discovery for narrator and string orchestra, and the song cycle Sings
Harry (1953), the musings of a middle-aged bachelor who, returning to the mountains
where he grew up, begins to reassess and evaluate the course his life has taken. Two more
works, an orchestral tone poem A Song of Islands (1946) and the Chaconne (1946), find their
parallel in the regional paintings of Rita Angus.
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.
PEL10 – 4

COLLECTIONS
Christmas Pieces (PEL10)
These collections of Christmas pieces were Douglas Lilburn’s light-hearted musical gift to
Lawrence Baigent and Leo Bensemann, both proficient pianists; together, they give us an
endearing glimpse of the composer and his friends during the 1940s. For a more detailed
account of the first four sets, including a description of the source material and editorial
commentary, see the Douglas Lilburn Complete Piano Music Edition. The fifth set, dedicated
to Leo and Mary Bensemann, is previously unpublished apart from nos. 1 and 5 which
appear (without captions) in Occasional Pieces for Piano under the title ‘Two Christmas
Pieces for L.B. 1949’.
The copy-text for this fifth set is Lilburn’s holograph score, fMS-Papers-9121-1, Alexander
Turnbull Library, with reference to Occasional Pieces in regard to minor clarifications of
phrasing and articulation. It should be noted that Lilburn revised the tempo marking of
no. 1 from ‘Allegretto’ to ‘Moderato’ and of no. 5 from ‘Andantino’ to ‘Andante’.
Preludes (PEL13)
This gathering of shorter pieces by Douglas Lilburn includes works that are among his
most popular. Clear-eyed and felicitous, they are nevertheless shot through with something
transcendental — a strange and beautiful excitement. For a more detailed account of these
works, including a description of the source material and a detailed editorial commentary,
see the parent volumes of the Douglas Lilburn Complete Piano Music Edition.
Sonatas (PEL11)
The four sonatas contained in this volume display an expansiveness of feeling that is an
expression of Lilburn’s dedication to the open spaces of his homeland whilst relishing the
received sonata structures of the great classical masters. The first two express the exuberance
of his early musical language while the later ones reveal Lilburn in full possession
of the genius and creativity that made him New Zealand’s pre-eminent composer of the
twentieth century For a more detailed account of the genesis and reception of these works,
a description of the preserved source material and a detailed editorial commentary, see
volumes 1, 2, 3 and 6 of the Douglas Lilburn Complete Piano Music Edition.
Sonatinas (PEL12)
In these two sonatinas, Douglas Lilburn achieves his mastery of early and late style, in each
case a style he handles with magical suppleness. For a more detailed account of the genesis
and reception of these works, a description of the preserved source material and a detailed
editorial commentary, see the volumes 4 and 8 of the Douglas Lilburn Complete Piano Music
Edition.
PEL10 – 5

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© Alexander Turnbull Library Endowment Trust
This edition © 2025 Promethean Editions Limited PEL10 – 6
ISMN 979-0-67452-290-8

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Interlude: The Highland Gathering
27
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PEL10 – 12

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O
9
! S C
mp
B
B
C
C
C
C
C C C CC CC CC C C C. B
Ċ
C
B CC
O
B
B
B
B
C
C
C
C
C
C
C
C
C
C
B CC
C
C
O
CC
C
CC
C
CC
C
CC
C
CC
C
CC
C
CC
C
ff
13
!
B
B
C C C
C C C
BBB CC C O
CCCC CC CC C C C
BB
O
CCCC CC C CCC
BB
B
C
C
O
O
C C ĊCO
C C BBO
C C C C CC C C.
B
B C C
O
.
Fine
17
! S
f
B
B
C
C
C
C
CC
C
B
B
O
C
C
C
C
Y
O
Y BBO
C
C
Y
C
C
Y
C
C
BBOO
C
C
B
C
B S C
B
B
C
C
CC
C
O
BBOO
C
C
C
C
C
C
Y
C
C
Y
Y BBO
O
C
C
C
C
O
O
CCCC C C
O B
PEL10 – 13 PEL10 – 13

!
#
!
BBB
!
B
B
S
CCC
C
C
C
C
B
BB
B
C
B
CC
C
C
C
C
!
CC
C
C
C
B
B
BBB
CC
C
C
C
C
C
C
C
C
C
C
#
B
BBB
C
C
B
S
S
B
S
C
C
B
C
CCC
C
BB
C
C
B
B
!
C
C
BBB
B
B
B
C
B
C
C
BB
B
B
CĊ
C
C
#
B
B
B
BBB
BBBB
C
CC
#
21
! S
p
O
C C B C C C Y C C C B
Y BBO
O
BBO
O
BBOO
O
BBO
O
C C C O C C C Y C C C B O
BB Y B
C CC
C CC
O
Y CC
O
25
! S C
C
B
B
C
C
C
C
C C C C C C C C C C C C . B
Ċ
C
B C CC
O
B
B
B
B
C
C
C
C
C
C
C
C
C
C
C
C
C CC
B C CC O
CC
C
CC
C
f B BB CCC .
29
! S
C
C
C
C
# B
B
C C
C
B
B
BBO
O
C
C
C
C
O
BBO
O
C
C
C
C
C
C
O
C
C
B
B
B
B
C
C
C
C
CC
C
O
O
BBO
O
C
C
C
C
C
C
C
C
O
BBO
C
C
C
C
O
BBO
O
D.C. al Fine
FIVE PRELUDES
Andante B = c.72
W 44
-
-
-
-
- -
C C C B C - C - C - -
B O
B C
C C B
C C W C B S
CC C
-
CCC
-
CCC
1
molto espress.
pp
S B
# W 4 A
W CC CC W CC C C CC
B S C
A
C
C
C
C
6
W C- C C- C CC CC CC CC CC B B A S
B CC C C C C C
O
# W B B B B
A A A
A
B
B
B
O
C
C
PEL10 – 14 PEL10 – 14

S
A
-
CC
AA
C
-
CC
C
-
CC
C
B
C
B
S
-
CC
C
A
C
BB
-
CC
C
C
-
C
C
C
C
C
C
A
A
C
B
B
BC
C
C
C
C
R
AA
C
S
A
S
A
C
B
C
-
C
S
-
C
C
C
A
C
C
A
-
CC
-
C
C
C
C
B
-
CC
B
-
C
C
C
!
12
!
W
# W A
A
O
C C C C
B
CBB C
A
C
C
B
B
B
B
A
A
-
B
p
C
C
C
C
17
!
W
# W
C
C
- -
C C C C B C - C - C - C C B C - C - O
C
B B C
C C W C B C C C
CCC
CCC
C
C
C
C
C
C
B
B
mp
W C C C C W C C C C C C S
C
C
C
C
C
C
-CC C - C C C C C C C
B
B
22
!
W CC CC BB B S
f
# W B B B B A
BB
B
CC
C
CC
C
A
A
CC
C
CC
C
CCCC CCC
B
B
CC
C
BB
B
B
B
mf
B CC CC CC C
C C B B
28
!
W
# W
mp
S C C
C C
C C
C C
C
-
C
B O
B C
C C B C - C - C
- -
C C B C
C C C B S
CC C
C p
C C B CC CC CC C C CC B S C
CCC
C
C
CCC
C
C
33
!
# W
W C- C C- C CC CC CC CC CC BB B S
B
B
BBB B
mp
BB CC C C C C C
O
BBBB
A AA R BB AA
B
B
dim.
B
B
R B - A-
A
A
A
A
PEL10 – 15 PEL10 – 15

!
!
!
!
C
C
C
C
C
C
CC
C
CC
S
CC
S
S
C
C
CC
C
2
Allegro
W W
W W W 2 4
p C C C C C
C C C C
leggiero
# W W
W C C C
W W 2 4 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 C C
6
W W
W W W C C C C C C
C C C C
C C C C C C C X C C C C C C C C C C C C C C C C C C C C C C C
# W W
W C C C
C C
C C
C
CCC W W X
C X C
!
11
!
W W
W W W C C C C C C
C C C C
C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C
W W
W W W CC
C C C S CC
C C C S
CCC C
16
!
eva
W W
W X X C W C C
W
X C
X C C C C C X C C C X C
C C
mp
W W
W W C
W X CC
# C
C
X X
X C C C X C C C C X C
X C C C C
X C C C C C C C C C C C
X CC
X
C X CC CC CC C
21
!
W W
W W W C C C C C C C C C C C C C C C C C C C C C C C C
p
# W W
W W W C
C C C
X C C C C C C C C
S B CC X C
25
!
W W
W W W C C C C C C C C C C C C C C C C C C C C C C C C
# W W
W W W C
C C C
X C C C C C C C C
B CC X C
PEL10 – 16 PEL10 – 16

!
!
!
!
B
B
B
BB
C
C
C
C
C
h
B
C
C
C
CCC
C
BBB
C
C
CCC
BBB
C
C
C
CCC
B
C
CC
h
C
C
B
B
C
C
C
C
h
BBB
B
g
C
C
C
C
BBB
C
C
C
h
B
C
CCC
C
C
CCC
CC
C
!
C
C
C
CC
S
B
Q
BBB
B
C
S
29
!
W W
W W W C C C C C C C C C C C C
C C C C C C C C C C C C C C C C C C C C C C
# W W
W W W
C C
C C S C C
33
!
W W
W W W CCCCC C C C C
CCCCCCCCC C C C C C C
dim.
C C C C C C C C C
# W W
W W W O
!
C C O
3
Lento non troppo
W 34
C
O
C O B C O
O
C C O C
p dolce
W 34 S C C C #
C
CCC BBOO
C
BB
CC
BBB CC C
O
O
7
# W
W C C O
B OC B
O
W
O
O
C
C
C O
C C CC C C C CC C C B S
mp
C
C C B
B
C C
C C C C C C C C B
C C CC
12
!
W
# W
O
C C
CC
CC CC
CC
C
C C B
B
C C CC C C C
C
C
C C CC C C C CC C C C W C
O
C
C
W CCOO
O
B
B
CC
C
CC
C
f
C
C
C O C C C C C
BBC C
17
!
W
CCB
C C C C C C C C C C C C O
C O C C C C C C C C C C CC CC
mp
W #
BBC C
CC
C
BBB
B
CC
C
CC
C
W
C O C W C
CC
X
O
W C
C
B O
PEL10 – 17 PEL10 – 17

!
!
!
!
BB
B
B
BBB
BBB
B
C
BBB
BB
B
B
BBB
BBBB
BBB
B
B
B
BBB
B
C
C
BB
B
C
B
B
B
BB
BB
B
BB
B
B
B
BB
B
B
B
BB
B
BB
BBB
B
B
BBB
BBB
C
CC
C
BBB
B
B
B
BBB
BB
B
B
B
C
#
4
Allegro C = c.132
W W
W C
W W
W C C C C 34 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
p
W W
W W W
W 34 #
O
BBOO
O
O
BBOO
O
7
W W
W W W
W C C C C C C B O
# W W
W C
W W
W BBOO
BBOO
C C
C C C
O
!
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
O
O
O
O
14
!
W W
W W W
W C C C C C C C C C C C C B O
# W W
W W W
W
BBO
O
BBOO
C O C C
BBO
CC
C CC C C C
C C C C C C C C CC
mp
O
O
O
O
O
C C C C C CC
O
C B C C C
21
!
W W
W W W
W
CC
C CC C C C
C C C
C C C C C C C C C C C C C C C C C C
p
# W W
W W W
W O
O
C B
!
O
C B
O
C C C C C C C C C C C C C C C C C
O
O
28
!
W W
W W W W C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C
W W
W W W
W O
X
# BBO
O
X BBO
O
BBOO
O
C C C C C
O
34
!
W W
W W W
W
# W W
W W W
W O
C C C C C C
O
poco più lento
C C C C C C
C C C C C C
C C
C
C C
O
X
X
O
X
X
C C C
O
X
B
B
X CC C C C.
C
C.
W BBO
O
B O
PEL10 – 18 PEL10 – 18

#
#
#
#
#
B
BBB
B
B
C
C
C
C
C
C
C
C
C
BBB
g
CC
g
C
C
g
CC
g
C
C
C
B
B
CC
C
C
CCC
CCC
CCC
C
C
g
C
g
C
C
C
g
C
g
C
C
CC
C
CC
C
C
CCCC
g
C
C
g
CC
CC
B
g
C
g
C
C
B
B
C
C
C
B
BB
B
B
C
C
BBB
C
C
C
C
C
C
g
CC
g
C
C
g
CC
g
C
C
C
B
B
!
5
Allegretto
! Y Y I
Y 4
3 C C C C
mp
Y Y Y 4 3 S O
O
CC
BB CC
C
C
B
B
C
C
B
B
CCC C C
CC
C
X BB B S
I
C C C C
Y
O
O
C C
C
C
6
! Y Y Y
Y Y Y
BBCC C C
B
B
C
C
B
B
CCC C C
CC
C
C C
B
B
CC
C
C
C
CC
C C C C C C C CC
B
B C C C C C
C
C
C
C C C C B O
C
C
C
C
C
C
O
O
12
! Y Y Y
Y Y Y B
B
C
C
I
C C C C
O
O
C C
C
C
O
O
C
C
O
O
C C B
mp
C
BBC
C
C
I
C C C
O
O
C C
C
C
18
! Y Y Y
Y Y Y
BBCC C C
B
B
C
C
B
B
CCC C C
CC
C
C C
cresc.
CC
C
C
C
CC
C
B
B
C
X CC
C
C
BBOO
mf
B
B
cresc.
C C C
B
B
O
C C C
24
! Y Y #
Y O
O
O
O
f cresc.
Y Y Y
C C C
B
B
C C C
O
C
O
C
C
C
X
ff
O
O
CCC S
C
C
S
PEL10 – 19 PEL10 – 19

!
!
!
!
!
!
!
C
C
C
C
C
C
C
C
C
C
C
C
Q
C
C
C
C
C
C
C
MUSICAL BOX
Lin Tang Thanks His Friends For A Birthday Gift
W W
W W W
W Ċ Ċ Ċ Ċ Ċ Ċ Ċ Ċ Ċ Ċ 44
Ċ Ċ Ċ Ċ Ċ Ċ Ċ Ċ Ċ Ċ Ċ Ċ Ċ Ċ Ċ Ċ Ċ Ċ Ċ Ċ sim.
C C C C C C C C
# W W
W W W
W 4 4
Q Q Q Q
!
C C C
C C C
con 2 pedale
6
W W
W W W
W C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C
W W
W W W
W C
C C C
C C C C C
C C C
C C C
C C C
C C C C C C C C C C C C C C C C C C C C
11
!
W W
W W W
W C C C C C C C C C C C C C C C C C C C C
ED
B O C C C C C C C
C C C
W W
W W W
W C C C C C C C C C C C C C C C C C C C C
C C C
C C C
15
!
W W
W W W
W C C C C C C C C C C C C C C
C C C C C C C C C C C C C C C C C C C C C C C C C C
W W
W W W
W C
C C C
C C C
C C C
C C C
C C C
C C C C C C C C C C
19
!
W W
W W W
W C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C
W W
W W W
W
C C C C C C C C C C C C C C C C C C C C C C C C C C
C C C
C C C
23
!
W W
W W W
W
C C C C C C C C C C C C C C C C C C C C
ED
B C Ċ Ċ Ċ Ċ Ċ C. C. C . C.
B
B
W W
W W W
W C
C C C
C C C
C C C C C
C C C
C C C
C C C
C C C
PEL10 – 20 PEL10 – 20

!
!
!
!
!
!
C
C
C
C
C
C
C
BB
C
C
C
C
C
C
h
C
C
R
C
C
C
C
B
C
T
C
CC
C
C
C
C
C
C
C
C
C
C
C
C
C
C
CC
C
C
C
C
28
!
W W
W W W
W C C B C C O C
C C O C C C O C C C C C C
C C C C O C C C O C C R
W W
W W W
W
C C C
C C C
C C C
C C C
C C C
C C C
C C C
C C C
C C C C C C C
33
!
W W
W W W
W
B B C C C C C O C B C C C C C O C C C C C C O C C C O C C C C C C
C C C C O C
W W
W W W
W
C
C C C
C C C
C C C
C C C
C C C
C C C
C C C
C C C
C C C
C C C
38
!
W W
W W W
W C C C C
C C C C C C C C C C C C C C C C C C C C C C C C C C S T
CCC C
W W
W W W
W
C
C C C
C C C
C C C
C C C
C C C
C C C
C C C
41
!
W W
W W W
W C C CC
CCC C C C
C C C C BB
W W
W W W
W C
C C C
C C C
C C C
C C C
C C C
C C C
C C C
C C C
C C C
C C C
C C C
44
!
W W
W W W
W C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C
W W
W W W
W
C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C
C C C
C C C
49
!
W W
W W W
W C C C C C C C C C C C C C C C C C C C C B C Ċ Ċ Ċ Ċ Ċ C.
ED
C. C . C. A
W W
W W W
W
#
C C C
C C C
C C C C C
Q Q
PEL10 – 21 PEL10 – 21

!
!
B
C
B
C
B
B
B
B
B
B
B
B
B
B
B
B
C
BBB
BB
B
B
B
B
B
B
B
B
B
BBB
B
B
B
B
B
BB
B
B
C
BBB
C
BBB
BB
B
BB
B
CC
C
B
B
B
B
B
B
B
B
B
B
B
BB
B
B
B
B
B
B
-B
BBB
B
B
B
B
B
B
B
B
B
BBBB
B
B
BBB
B
-B
B
B
BBB
-B
C
B
B
B
BB
B
BB
BB
B
C
B
B
B
B
B
B
BB
B
B
B
B
B
B
BB
B
B
B
B
B
B
B
B
BB
B
C
B
B
B
B
B
B
B
B
B
B
B
B
B
BBB
B
-B
C
‘CHRISTMAS 1943’
CHRISTMAS 1812
8
15
!
22
!
29
!
36
!
Moderato
W B B W C W C C
4
5
C C C W C C C C C W C C C C C B B C W C C C C C W O
O
B O
B B O
B B O
B B
O
B O
B C C C C C
p
# W W 5 4 B B
O
O
B
B
W
BBO
O
O
BBO
B
B
B O
B B C C C C C C C C C C B O
W W C C C C C B B O
O
C C C B B B C C C C C C C C C C C C C C B B B
B B C C W C C C C C C C C W C
B O
B B
# W W
B
O
O
BBO O
BBO
W W W C CC W B C W C C
2
3 4
5
C C C
C
C C
CC W CC CC W C
CC CC W C
BBB O
O
B-A- B
X
cresc.
- BB-
BB- B-
p
O
O
f
# W W BBO
BBO
O
O
B
B
O
2
3 A
X
4
5 B
A
X
B
W W C W C C C W C C C C C B O
O
B O
B B O
B B B
B B CC CC CC CC CC W CC CC CC W C CC CC CC CC C C
C C
CC BB
2
3 B
cresc.
B-
W
O
f
# W BBO
O
BBO
O
O
BBO O
O
W BBO
BBO
O
2
3 BB
B B B
B B
W B C W C C W C C C B O
4
5 O
O
W C CC C C
CC W CC W CC CC W
W C CC CC W B B
A B B B B CC
B
W BBB
p
W
O
# W BBO
O
W
BBO
O
B
B
W W
W A
B 4
5 W
O
BB
B
O
A
B
B
B
W O
B
W W CCB CC CC CC W CC CC CC W C C
CC CC CC CC C C
C C
CC C
2
3
B-A BB B
cresc.
B B BBB
BBB
A
O
f
# W O
O
O
W BBO
BBO
BBB
2
3 B
B B
A
B
B
B B
A
B
B
B B
B B
A A O
BB
B
X
X
O
O
BB
B
B
B
O
O
B
B
W
BBO
O
O
B
B
PEL10 – 22 PEL10 – 22

BBB
CC
B
B
A
A
B
B
B
B
B
BBB
B
B
CC
BBBB
B
B
B
B
BBB
B
B
BB
B
B
BBBB
B
B
C
AA
A
A
CC
C
B
CC
BB
B
B
B
B
B
CC
B
B
CC
CC
C
BB
BB
CC
C
BB
B
B
B
B
BB B B
B
B
BB
B
B
B
CC
B
B
B
B
C
B
B
B
A
A
B
BB
C
B
B
B
B
AA
A
A
B
B
B
B
C
C
BB
B
BB
C
B
AAAA
BBBB
C
B
C
CC
BBBB
CC
B
B
B
B
C
C
C
CC
B
CCCC
C
CC
BB
BB
AAAA
C
CCCC
C
CC
BB
B
43
!
W W 4
5 W B B CCC W C C C C C 2
3 4
5
X
B BB
W C CCB B W C C W C CCB W
B
pp
CCC
# W B O
B
C B C C C
W B
X
4
5
B O
B B B B
2
3 4
5
B
X
W W 4
5 BBBB CC C
C B B CC CC
2
3 B BB B 4
7 W C C
W BBB
CCC BBB
# W B O
C B C C C
O
W 4
5
B B O
2
3 4
7
50
!
W CC
CCC C C C
C C
BB W B
B B
B
CCC W C
W CC
O
CCC C C C C C C C
cresc. poco a poco
BB
B
BB
B
W W W
CCC
W
C C
CCC W C
W C C C C C C C C C C W C C W C CCC C CC
C C C C C C C CCC
W W C
C C C C C C C C CCC
W W C
C C C C C 2
3
# W O
O
O
O
O
W W B 2
3
B B
B
BB
W B
B
B B W B
B
B B W B
B
B B
B
56
!
61
!
W W 2
3 BBB B
-B
ff
# W W 2
3 B B
B
B B
B
-B
B
B
A
-A
A
A
BB
B
B
B
X
X
B
B
X
BB
BB
B
B
X
BB
BB
B
B
W AAOO
BB
B
B
B
B
B
R W BB BB
B
B
B
B
BB
BB
B
B
A
A
BB
BB
B
B
BB
BB
B
B
BB
BB
B
B
BB
BB
B
B
68
!
75
!
W W W
# W W
B
B
AAO
O
B
B
W
W
R
B
B
B
B
B
B
B
B
B
B
A
A
A
A
BB
BB
B
B
BBB
B
B
B
BBB
B
B
B
allargando
W CC
W X B BB
4
5 C W CC C
W BBO
C C
C CC
C W C
C C
O
CC
W
BBO
C CC
C W CC C
O
O
C C
C CC
C W C
C C
W
BBO
O
W CC
O
W CC
W BB? O
BBO
fff
# W
X B
W X B 4
5 O
!
X
BBO
O
O
O
BBO
O
C
CC W W C C
O
CC BBO
C
W C O
O
W C
O
C BBO
B¯ O
BBB
B
B
B
AAOO
O
B
B
B
B
BBB
B
B
B
A
A
BB
BB
B
B
PEL10 – 23 PEL10 – 23

!
!
!
!
Ċ
S
S
Ċ
Ċ
C
C-C
-CC
S
C
S
Ċ
Ċ
S
Ċ
T
Ċ
S
S
Ċ
T
T
S
Ċ
Ċ
S
S
S
Ċ
Ċ
S
S
Ċ
S
S
Ċ
S
S
Ċ
S
S
Ċ
S
Ċ
T
T
T
S
Ċ
S
Ċ
#
PRELUDE 1
Allegro = c.126
W 44 S C - C S C - C T ĊC T ĊC
S S C
CC - C S C - C S Ċ C T S Ċ
-
p semplice e leggiero
# W 44 Ċ S Ċ Ċ S
C
C T . T Ċ
.
!
T
C.
C.
C.
C.
C.
C. C Ċ Ċ S
.
5
W S C - C S C - C T ĊC T ĊC
C
-C
C
-C
C
-C
B
-B
O
# W
Ċ S Ċ Ċ S C .
C . Ċ
h Ċ Ċ Ċ Ċ Ċ
9
W
Q
-A
S C - C S C- C S ĊC T T
ĊCĊC T
# W C.
C.
Q
!
C.
C.
C.
C.
C.
C.
C.
C.
C.
C.
C.
T T T
C.
C.
C.
13
!
W
-CC S
-CC S ĊC Ċ S C - C S C- C T ĊC T ĊC
C
-C
W #
C.
C. S
C.
C. S
C.
C.
C.
C.
Ċ S Ċ Ċ S C .
C. Ċ
17
!
W
#
S Q CC-
B- O
Ċ
-A
# W Q
h Ċ Ċ Ċ Ċ Ċ
C.
C.
C.
C.
C.
C.
C.
PEL10 – 24 PEL10 – 24

#
CCC
CCCC
B
CCC
CC
CCC
CCCC
CCC
CC
CC
CCC
C
CC
CC
CC
CCCC
CCC
h
CCCC
CCC
CC
CCC
C
CCC
CCC
CC
CCC
CC
CCC
C
h
CC
C
CCC
CCC
B
CCC
CCC
CCC
CC
CCC
CCC
CCC
CCC
CC
CCC
CCC
CCC
C
CCC
CCC
h
h
C
h
CCC
C
C
CC
CCC
CCC
C
h
CCC
C
CCC
h
CCC
CCC
C
C
CCC
CCC
h
CCC
CCC
CCC
g
C
CCC
CC
B
CCC
CC
B
CCC
CCC
CCC
CC
CCC
CCC
CC
CCC
g
C
PLAYERS’ MUSIC
Lento C = 66–72
! 4 R B R B : T C C C C C O
C B T C C C C O
p sempre
! 4 : #
CCC
C C C
6
! B O
S T
:
C C C C C C C B S T
C C C O
S
O
CCC C CC CCC C CC
CCC C CC
! :
11
! : T C C C C O
C C C B S T C C C C O
C B C C C C C C C C C C C
! : C C CC
CC
CC
CC
CC
CC
CC
CC
CC
CC
CC
CC
CC
CC
CC
CC
CC
CC
CC
CC
CC
CC
CC
CCC CC CC CC CC
16
C C B
! S T C C C O
O
S : :
O
C B C O
C C C C C C C B C
! : :
CCC C C CC
CC
CC
CCC
C
CC
CC
CCC
C
CC
CC
CCC
C
CCC
C
CC
CC
CCC
C
CC
CC
CC
CC
22
O
1. 2.
! S T C C C C C C C B S T C C C
B O
S : O
#
! CCC CC
: S
S
PEL10 – 25 PEL10 – 25

#
#
#
#
#
#
#
#
C
T
T
g
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
g
C
C
g
C
g
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
T
PRELUDE 2
Y Y Y Y Y Y |
p
Y Y Y Y Y Y |
Allegro = 152
staccato
C
C 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
Y Y Y Y Y Y C C C C C X C
C C C
C C
C C C C X C C C C Y C C C C C C C C
X
cresc.
ff
9
Y Y Y Y Y Y
Y Y Y Y Y Y
C C C
mp
CCC 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
più cresc.
C C C C
C C C C C C C C
C C C C
CCC X C X CC CC CC CC CC
X
X C C
C C
C C
C
C
ff
C
C
X CC X CC T
X
C
C
C
C
19
#
Y Y Y Y Y Y B C
Q C C C C C
C X C
!
C C T S B A
p
Y Y Y Y Y Y B
#
!
A X C C C C C C C C C C S S T S
PEL10 – 26 PEL10 – 26

!
!
CC
C
C
C
CCCC
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
CC
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
LADY WOOD’S FANCIE
Andante = c.76
W 34 S T C C C C C C C
[ p]
# W 34 C C B B O
C C C C O C C C C C C C C
C O
B C B B O
B O
C C C C C C C
con 2 pedale
7
W
C C C C C
C C C C
O
C C C
# W C O
B C B B O
C C C C O C C C C C C C C
C O
B C B B O
13
!
W
# W O
CCCCCC CC CC S T C C C C C C C
B O
meno p
C B O
h C C B C B B O
C C C C O C C C C
O
B C B
19
!
W C
C CC CC CC CC CC CC CC
C CC
C
CC CC CC CC CC CC O
C C C C C C C
p
# W C B O
C B B O
B B B O
24
!
W
C C C C O C C C C C C C C
# W C O
B C B B O
C CC C C CC CC CC B
O
B O
h C C B
PEL10 – 27 PEL10 – 27

!
!
CCC
BB
CCC
T
T
C
C
C
C
T
g
C
C
h
C
C
T
C
T
B
B
C
g
C
T
T
C
h
C
BBB
BBB
T
C
CC
CC
C
T
CCC
S
g
C
C
C
BBB
C
BBB
BBBB
CCC
#
C
C
T
C
h
BBB
B
CCC
BBB
BBBB
CCC
T
T
C
CCCC
ANDANTE
Andante
= 76–80
W W 4
3
C C C C C C C
C C C C C C C
C C C C C C O
C
C
C C C C C C C C C C C
p
# W W 4
3 T S C B B
C B B T g
CC
C
C
CC
C
5
W W
ten.
T C C C C C C C T C C C C C C C T C C C C C C
# W W C
C
S S T
BB
B
O C C C C C C C C C C C CC C C C
BBB C CC
10
!
ten.
W W CC C
C C C C C C
pp
# W C W CC S S
C C C C C C C
O
C C C C C C
O
O C C C C C C C C C C C C C
O
BBB CC
15
!
20
!
ten.
W W
CC
C C C C C
mp
# W W C C
S S T g
C
C C C C C
#
B !
T g
W W
ten.
O
W W p
O
C T C C C C C C
BBB T g
C
C T C C C C C C C
O C C C C C C C C C C C C C C C C C C C
BBB
BB B
mf
C C C C C C C C C C C C CC
O C C C C C C C
24
!
W W C C C C C C C C C T C C
C
BB
# W B W T
sf
O
C C C C C C C C C BB B
B C C C
C
CC
C
B
B
CCC W
O
p
BBO
O
O
CC
C
PEL10 – 28 PEL10 – 28

!
!
C
C
CC
C
C
C
C
C
C
C
C
C
C
C
CC
C
C
C
C
B
B
B
B
B
C
C
C
C
CC
C
CCC
g
C
C
C
h
C
C
CCC
CCC
T U
T
C
C
C
C
R
C
igk
C
jhl
BBB
C
C
C
C
C
C
C
B
B
B
CC
C
C
C
C
C
C
C
CC C C
C
C
C
C
C
g
C
C
C
h
C
T U
BBB
B
B
T
C
igk
CC
C
igk
C
jhl
BBB
B
B
C
C
CC
h
BBB
T U U
jhl
C
CC
igk
C
CC
C
C
CC
CC
S
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
B
B
B
B
B
B
B
C
‘A CHRISTMAS OFFERING’ (1944)
FLOURISH
Allegro maestoso
O O
O
O
W CCO BBO
CCO
C CCO
W | O B O
C C O
O CCC C CC
C C O
ff
# W W | R B B
B
CCO
O
O
C
C
C
C
O
BBO
O
S R B B
B
5
W W C X
T OO
#
C O
O CCC C
C CC BBBB
# W W R O
CCO
O
C
C
X
X
k
T OO gi
C C
C
BB
B
B
B
mf
C
C
CCO C O C C C C C O
C C
G
C
C
C
C
G
C
C
9
# W W CCO C O CC Ċ C
CC C O CC CC O
O Ċ Ċ B S
.
!
# W W C
C
G
C
C
C
C.
C.
C
C
G
C
C
C
C
G
C
C
C.
C
C.
B
B
ff
O
O
S R B B
B
13
!
C
W C W C
C C O
O
CCO
B O
C C O
O
T U U
CC CC CC
CCOO
BBO B O
C C O
O
# W W R B B
B
R B B
B
R B B
B
18
!
C OO C C
W W C A
C O C OO CCC
#
# W W B
B
C CC CC C CC CC C CC Ċ C
C
C
C
C
C
C
C
C
C
C
C
C
C
CCOO
O
O
mp
G
G
G
.
C.
C.
PEL10 – 29 PEL10 – 29

!
CC
C
CC
C
CCCC
CC
C
CCCC
CC
C
C
CC
CC
C
C
C
CC
C
CC
C
BBBB
T
CC
C
CC
C
CC
C
jhl
CC
CC
C
C
CC
C
CC
C
CC
C
C
CC
h
C
CC
C
CC
C
C
jhl
igk
C
C
C
C
CC
CC
C
CCCC
#
CC
C
C
CC
C
S
C
#
CC
C
!
C
C
C
C
C
C
T
C
g
BB
BB
B
!
jhl
CCC
CCC
C
C
C
S
22
# W W C C C O
C C C C O
# W W C
C
G
C
C
C
C
G
C
C
O
U U T
Ċ Ċ B S
C.
C
C.
B B
CC
C
mp
G
C
C
C
C
CCO
O
CC
C
C
C
CC
C
G
C
C
CCO
O
CC
C
25
CCO
# W W
O
CCOO
CCO
O
O
CCO
O
!
CC
C
CCO
O
CC
C
CC
C
CCOO
O
CC
C
# W W C
C
G
C
C
C
C
G
C
C
C
C
G
cresc.
C
C
G CC
C
C
G C
C
C
C
G CC
28
!
eva
O
CCO
C
CCCCC C
OO
CCOO
CC
C
CC
C
CCCC CCC
CCO
O
CCOO
eva
C
CC
W W
ff
G
# W W OO
CC
!
CCCC C C
CC CCOO
CC
C
CC
C C C
C
CC
C
G CC
C
OO
CCCC C C
31
!
{eva}
W W OO
CCOO
#
CC
C
CCO
O
CC
C
CC
C
CCO
O
CCC CC
CCOO
O
CC
C
CC
C
CCOO
O
CC
C
W W CCOO #
CC
C
CC
C
CC
C
C
C
G
C
C
C
C
G
CCC C
C
G CC
C
C
C
G
C C
34
!
CCO
W O
CCO
O
CCOO
W
#
CC CC
CC
C C
C
O
# W
G CCC G C
C C
W CC ! C
CC C OO C C
C
C
CC
C
CC
BBO
O
S
C
O
PEL10 – 30 PEL10 – 30

!
!
BB
C
BB
B
BB
B
C
C
C
BB
B
C
C
B
BB
B
C
C
C
BB
B
C
B
B
B
B
C
C
C
C
B
B
CCC
B
B
!
BBB
CCC
C
CC
C
C
C
BBB
C
C
CCCC
C
#
C
C
B
B
CC
C
BB
C
C
C
CCC
C
B
B
CCC
B
C
BB
B
CC
C
C
C
B
C
BB
B
C
B B B
C
B
B
C
C
C
C
FOUR PRELUDES
1
Allegro
= 144–152
W 34 C C C C C C C C C C
C C C C
mp
C C
# W 34 Q Q Q Q Q Q X B
C X C
cresc.
X
B
B
X
C C
9
W
O
sf
# W Ċ
C
p
C
C.
X
C
X . C.
O
C
C.
C
C.
C
C.
O
C
C.
X
X .
B C C
C C C C
O
O
C
C
C C C C C C C C
C C C C C
B B C B C C C C B C
18
!
W
C
cresc.
# W X B
CC X B
X
C C
W C C
C
C
W BBO
O
sf
Ċ
C
p
C X
C. X .
C
C.
O
C
C.
C
C.
Y
Y .
O
C
C.
C
C.
C C C C C
W BB
CCCC
X
X
p
O
O
O
W C W CC CC
cresc. poco a poco
O
26
!
W C C C C C
W B CC CC
# W X
X O
BBO
O
O
O
W C CC CC
O
C CC C
C
X
C
X
C
X CC C
X B B
X B
CC
C
X BBO
BBOO
X .
X
Ċ
C
Ċ
C
BBOO
Ċ
C
Ċ
C
Ċ
C
BBOO
Ċ
C
Ċ
C
C
C.
X BBO
O
X
X .
C
C.
C
C.
35
!
W
# W
BBO
O
C
C.
C
C.
C
C.
BBOO
C
C.
C
C.
X
X .
W CCC
ff
B
B
C CCC
C
C
C
C
W C
CCC X C
C
C
C
C
BB
B
C CC C
C
C
W B
B
B
W
W C
CCC X C
CCC
C
C
C
X
X
C CC C
C
C
PEL10 – 31 PEL10 – 31

BBBB
CC
C
CC
C
C
C
BBBC
CC
C
B
C
C
C
C
CC
-
B
C
BB
g
C
C
C
C
C
BB
g
C
B
CC
C
B
B
B
B
C
C
S
B
S
g
C
C
C
BBBB
S
CC
C
BB
B
S
g
C
S
BBBB
C
C
BB
C
B
S
-
B
g
S
BBBB
-
?Q
!
43
!
W
# W
C
CC
X C CC
W X C
B
BB C X B
X
C C
C
C
C C
W B
BB
C
C C
CC
X C CC
W C CC W BBO
O
sff
X
C X B
X W C C C C
C.
p
Ċ
C
Ċ
C
O
Ċ
C
C
C.
O
X C
X . C.
C
C.
C
C.
O
C
C.
C
C.
51
!
W O
O
O
O
# S B B C
BBO
B B
BBO
O
O
O
O
O
C B B C
BBO
B
O
B
- - - -
# W
- sonore
C
C.
C
C.
C
C.
C
C.
C
C.
X
C
X . C.
C
C.
C
C.
C
C.
C
C.
C
C.
C
C.
C
C.
C
C.
C
C.
C
C.
X
C
X . C.
C
C.
C
C.
C
C.
C
C.
C
C.
C
C.
C
C.
C
C.
60
# W
O
B
BBO
O
O
O
C
BBO
B B
BBO
O
O
C
BBO
B
B O
C C S S C
O
C S S C
O
C S S
O
- -
B
¯
dim.
# W Q ?
C
C.
C
C.
X
X .
C
C.
C.
C.
C
C.
C
C.
X
X .
C
C.
C.
C.
C
C.
C
C.
X
X .
C
C
C
C
C
C
O
2
g
Sostenuto e velato quasi lontano C = 152
# 3 5 8 O
O
O
8 CCC
O
2 T C C C C C C
4 !
h C C C
ppp
pp
# 3 8
5 8
2
O
O
4 B
C C C
B
con 2 pedale
C C C C C C C C C C C C
BBBB
8
! T C C C C C C
3 #
C C C C C C C C 8
C C C C T O
5 8 CCC
O
2
h C C C 4
CCCC
pp
#
BBBB
3 8 h
5 8
2 4
C C C
PEL10 – 32 PEL10 – 32

B
BBB
CC
C
B
B
C
C
C
h
g
C
h
g
CC
C
-
B
C
g
C
C
C
C
C
h
g
C
CCC
h
CC
B
B
B
B
C
C
C
h
B
-
B
h
g
C
B
B
C
C
C
C
g
C
CC
g
C
C
CC
h
C
CC
C
h
B
C
h
g
C
CC
C
CC
CC
C
C
C
-
B
h
g
CC
C
C
C
g
C
C
CC
h
14
# 2 T C C C C C C
4 ! C C C C C C C C C C C C 3 C C 8 C C C C T # CCOO
5 8
BBB CCC C
pp
# B
2 3 g
4 B
8
5 8
B
20
# 5 C O
3 8 C C
C
O
8
5 8
C O
C 3 O
8
5 O
C C
C C 8
3
C O
C C C 8
poco cresc.
sf
p
# 5 3 8 8
5 g
8
3 8
5 8
3 8
C C C C
C C C C
C C C
26
# 3 O
5 C C C
8 8 O
2 T C C C C C C 4 !
T C C C C T 4
3 T C C C C C C C C C C 2 4
pp
dim.
# 3 8
5 8
2 CCOO
4 4
3 BBO
O
2 4
O
31
! 2 T C C C C C C T C C C C T 4 4
3 T C C C C C C C C C C 2 T C C C C C C T C C C C T
4
pp
p
# 2 W
O
4 4
3 W BBO
CCO
O
2 CCOO
4 B
B
36
! T C C C C C C 3 C C C C C C 8
C C C C C C 2 T C C C C C C
4
poco cresc.
mp
# 3 CCO
O
CCO
O
8
2 4
C C C C C C C C C C C C
BBBB
42
! T C C C C C C
C C C C C C 3 C #
8
C C C C C T 5 8 C O
CC 3 8 O
p
pp
dim. possibile
# B BB
CCCC
3 8
5 8
3 8 O
O
O
O
O
O C C?
O
O
¯
PEL10 – 33 PEL10 – 33

!
#
#
#
C
C
C
C
BB
B
C
C
C
B
C
C
C
C
C
h
C
h
C
B
B
C
C
C
C
C
h
C
C
h
C
C
B
B
C
C
C
B
C
C
C
C
C
h
C
C
C
C
C
C
C
C
C
C
C
C
CC
C
C
C
C
C
C
C
C
C
CCC
CCC
C
h
CCC
C
h
C
C
CCC
C
CCC
C
CCC
C
C
CCC
C
C
C
CCC
C
CCC
C
C
C
C
C
BB
B
C
h
C
C
C
C
C
3
= c.60
G
! 2 C 4
Y C C C C C C C C Y C
p quasi narrante
G
C C
#
C C O
2 4
C C C O
Y C C
C
C
C
W
CC
C
G
Y C C Y C C C C C C C
C C Y C
G
C C C C C O
6
O
Y C C C
W C C W C
O
C C W C C C W C
pp
C C W C C C
G
C C C C C
I
W C poco cresc.
C
W
W C C C W C C C
G
W
W C C
C C C C C
I
11
!
C C C C C C C C C C C C
C CC
W W
G
J
W W
W
W
mp
W CC
W
W C C C C C C C W C C
C
C
B
B
rit.
a tempo
G
CC
C C C C C C Y C C
C Y C C C C C C C
p
CCCC Y C C
15
Y C C O
C C C C
C CC Y C C C C
C C
CC
! !
O
cresc.
Y C C W C
C C C CC Y C C C C
C C C W C
C
C
f
O
O
Y C C Y C C C
dim.
C
C
C
C
p
B
B
4
5
Adagio sostenuto
# 4 T W C
W CC CC CC C C C T W W C CC CC CC C C X CC
pp
# 4 g
B
X
g
g
- X
g
X
-
X
W W CC CC CC CC CC CC CC W W C CC CC CC CC CC CC W C C
W
W
O
W
g
W
X C C C C O
# X W
O
S T W CC CC CC CC CC W CC CC T W CC CC CC CC CC W CC CC T W CC CC CC CC CC CC W CC CC CC C C C C
C C C C C C C C
pp
#
BBO
O
S
X
X
W X Y C
B
C
O
X
C O
g
g
B
X O
O
C
W
g
O
g
PEL10 – 34 PEL10 – 34

#
#
!
!
#
#
C
C
BB
BB
B
C
C
g
C
C
C
C
C
C
C
C
h
!
C
h
CC
C
C
C
h
!
#
!
#
C
C
T
g
C
CC
C
g
C
C
C
C
C
C
C
C
h
CC
C
CC
C
CC
C
C
C
!
C
C
CC
C
C
#
C
C
C
h
!
!
#
C
C
C
CC
g
C
CC
C
!
CC
C
C
g
C
C
C
h
g
C
C
C
C
C
C
CC
S
!
!
C
CC
g
C
g
C
#
T
C
C
h
C
#
C
C
C
C
CC
C
C
#
C
CC
g
C
CC
C
C
C
C
C
h
C
C
#
C
C
C
C
C
10
#
Y
O
O
S T C C
C
C
pp
Y
Y
O
CC
C
Y
C
C
Y
O
C
C C
CC
C
Y
C
C C
Y
CC
C
C
C C
CC
C
C
C C
CC
C
Y C C C Y C C C Y C
C
C C
CC
C
C
C C
CC
C
Y
C
C C
Y
CC
C
Y
C
C C
CC
C
CC
C
CC
C
C
C
X
C
C
X
CC
C
14
! C C
C
Y
Y
O
CC
C
CC
C
Y
C
C C
Y
O
C
C C
CC
C
Y
C
C C
Y
CC
C
Y
C
C C
CC
C
C
C C
CC
C
Y C C C
C
CC
C
C
CC
C
C
C
CC
C
C
C
Y
Y
CC
C
O
CC
C
CCC
C C
poco a poco meno
Y
Y
O
p
Y
CC
C
C
C C
CC
C
C
C C
Y C C C Y C C C
CC
C
C
CC
CC
C
C
C C
18
! C C
C
Y
Y
C
C C
Y
CC
C
C
C C
CC
C
CC
C
Y C C Y C
X
CCC
C C
X
CC
C
CC
C
C
C
CC
C
CCC
C
O
CCC
C
CCC
C
C
C C
Y
Y
CC
C
O
CC
C
CC
C
Y
C
C C
Y
CC
C
Y
C
C C
CC
C
C
C C
CC
C
Y C C Y C
C
C C
CC
C
C
C C
CC
C
C
C C
Y C C C C Y C
Y
CC
C
Y
C
C C
22
! C C
C
CC
C
Y CC CC C C
Y C C C C C
CC X C
C CC
CC
C
C
C
C
CC
CC
C
W C
C
CC
C
CC
C
C
C C C C
C
C
CC W C
C C
C
W C C C C C W C
C
C C
CC
C
C
C
C
CC
CC
C
C
C
CC
C
W W
W
mf
C
C
CC
C
CC
C
CC
C
CC
C
CC
C
sempre cresc.
C
C
C
C
C
C
C
C
C
C
CC
C
C
C
W W CC
W C
W
W
26
!
29
!
W W CC
W C
W
W
W C
C
W W C
W
W
ff
CC
C
W
W -
O
C
CC
C
CC
CC
C
W
C
CC
CC
C
CC
C
CC
C
CC
C
CC
C
V W CC
W C
X - X C- C - W C- W C- W
W O
C
CC
W C-
C
CC
C
CC
W
W
C
CC
W C
C
C
C
CC
W
dim.
X
X
O
O
C
CC
C
CC
CC
C
C
CC
C- O
CC
C
C
CC
CC
C
CC
C
CC
C
CC
C
W V CC
V C
W - X C - C- W C - W C -
C
CC
C
CC
W C
C
W W C
rit.
-
C- B
d
C
CC
C
CC
C
CC
X W CC
W C
C
CC
W C
C
-
X
X
C
CC
O
O
CC
C
C
CC
C
CC
CC
C
CC
C
W
W W A
pp
C-
C C C
C C
CC
C
W CC C
C W C
C
C X C
B-
B
B
PEL10 – 35 PEL10 – 35

#
#
#
#
#
C
C
C
C
C
C
C
T
C
C
g
C
CC
h g
C
C
C
T
T
g
C
T
CC
C
CC
C
C
C
C
CC
C
C
C
C
CC
C
C
CC
C
C
g
C
g
CC
C
g
C
C
T
T
C
T
g
CC
C
C
C
C
C
C
g
C
C
C
C
C
C
h
g
CC
C
g
C
C
g
CC
h g
C
C
g
CC
h g
C
C
T
C
C
C
C
CCC
C
C
T
T
T
C
C
C
C
C
C
C
C
C
C
CC
g
C
CC
h g
C
C
CC
T
T
g
C
C
CCC
T
g
C
T
C
C
C
C
C
h
C
C
CC
C
C
C
C
BBB
B
B
WILLOW SONG
[Allegretto]
! Y Y 6 8
g
C
p
Y Y 6 8
C C C C C C C C C C O C
O
O
C O
C C
h
O
O
CCO
O
C C C C C C
O
CCOO
O
O
O
g
C C C C C C C
O
O
CCOO
6
! Y Y C C C C C C C C C C
X O
C T C C C
CCOO
O
O C C
CCO
Y Y O
CCO
O
CCC T
O
O
O
C T g
C C C C C C C C C C C C C C
C O
C C C C
O
h C T
O
11
! Y Y C C C C C C C X C
Y Y
CCO
O
CCO
O
O
C C C C C C C C C C C C C C C C C
X O
C O
C C
CCO
CCO
O
CCOO
CCO
O
O
O
CCC T
O
O
O
16
! Y Y C
O C C
CCO
Y Y
O
mf
O
O
O
C C C C
C
C
C
C CC CC
CC CC C C
C
C
C
C
O
O
O
C C CC CC CC CC C
O
O
C
C
C C C C
X
C
C
p
C C C C C C
CCO
O
CCOO
22
! Y Y C C C C C C C C C C
X O
C T O
C C C
CCO
O
O C C
CCO
Y Y CCO
O
O
CCC T
O
O
O
C T g
C C C C C C C C C C C O
C O
CC
O
O
O
W
O
W BBO
O
PEL10 – 36 PEL10 – 36

#
#
#
#
#
C
C
Ċ
B
B B
BB
CC
C
CC
B
B
B
C
B
B
C
C
CC
C
C
C
C
C
C
C
S
C
C
S
C
R
C
C
C
C
h
g
C
h
g
C
BB
S
h
g
C
B B
C
C
C
B
B
C
C
S
S
S
#
!
!
!
VIVACE
Vivace
! Y Y Y Y Y Y Ċ Ċ
|
X C C X CC X C Ċ C
Ċ X C C X C C X C
C C B Ċ
O
C C B
C
S
p delicatamente
Y Y Y Y Y Y | R S C
B O
S R
!
S
O
5
! Y Y Y Y Y Y C C X CC CC C C CC
C C B B C C
#
sim.
Y Y Y Y Y Y R S C
O CCO
O
ĊCĊC Ċ C
B B B B
C.
C
C.
X CC B
. B
B
B
9
! Y Y Y Y Y Y C C C X B B
C C X C X C
C C B O
C
Y Y Y Y Y Y O
R S
C C C X C C CC
X C
C C B C
C
S R S C
13
! Y Y Y Y Y Y C C C X
X
X CC CC C C
C C B C
#
Y Y Y Y Y Y R S C
O CCO
O
ĊCĊC Ċ C
BB BB
C.
C
C.
X C C .
B
B
B
B
17
! Y Y Y Y Y Y C C
C B C C
C C B C C
CC CC CC
C C C
BBCC CC CC S
mp
Y Y Y Y Y Y R S C
!
B
B
CC
C
21
! Y Y Y Y Y Y C C C C C
BBCC B C
CC CC CC
C C #
C T
! Y Y Y Y Y Y R S # C
C C C
T
ĊCĊC Ċ C
BB BB
C.
C
C.
X C C .
B
B
B
B
PEL10 – 37 PEL10 – 37

#
#
#
R
S
B
B
B
B
C
C
C
C
C
C
B
B
B
B
B
B
B
C
B
B
C
C
C
S
S
C
S
C
B
B
C
C
C
C
C
h
C
BB
C
C
C
C
C
C
C
A?A
C
C
S
C
C
!
C
S
C
C
S
C
!
25
! Y Y Y Y Y Y C C C B B C C CC
C C C
C C B O
C C BB
C C C C C
C C B
C S
Y Y Y Y Y Y !
S
O
S R S
B
B
CC
C
29
! Y Y Y Y Y Y C C C BBC
C C B C C
C C C C C C C C C C C C
#
CC C
CC C S
C
! Y Y Y Y Y Y R # S C
C C C
p
33
#
Y Y Y Y Y Y S
CCC C C S S C C B C S B R
!
Y Y Y Y Y Y
O
O
O
B
B
37
! Y Y Y Y Y Y S X CC
C S S
C
X CC
C S S C CC
CC CC
C C
X CC X CC S
Y Y Y Y Y Y C C C
!
O
O
O
p
41
! Y Y Y Y Y Y S C
S S C
C C C C C X B
CCC
CC X CC
! Y Y Y Y Y Y B O
C C B O
S R # S C
45
! Y Y Y Y Y Y S S C
#
! Y Y Y Y Y Y B O
C C B O
S #
O
O CCO
ĊCĊC Ċ C R B
¯
g
C X C
A
?
C. C.
C.
PEL10 – 38 PEL10 – 38

#
Ċ
S
Ċ
C
Ċ
B
C
C
C
Ċ
B
C
C
Ċ
C
B
C
B
B
S
C
Ċ
Ċ
S
Ċ
CC
C
S
B
B
Ċ
C
S
S
S
C
B
S
B
B
C
CC
C
C
C
S
C
TWO DIVERSIONS
1
Lugubre e giocoso
! | B O
p
| S Ċ
Y C . S
B O
B C C C C
I
Y C . S
Y C . B O
Y C . Ċ Ċ B O
C.
O
O
O
Ċ S Ċ
C.
8
! B O
B C C C C
I
# S
Y C . S
Y C . B O
Y C . Ċ Ċ B O
C.
O
O
B
B
O
p
C.
C.
15
!
# S
I
B O
B C C C C
C.
C.
C.
C
sf
Y C. C. C. C. C. Y C. C. C. C. C
p . C.
I
C C C C Y O
B O
Ċ Ċ S
sf
21
!
I
B O
B C C C C
# S C . C.
Y C. C. C. B O
S C . C. B W C
Ċ Y C. Ċ S
I
B O
B C C C C
C.
C.
C.
C
>
27
! Y C. C. C. C. C. Y C. C. C. C. C. C. C.
I
# B
C C C C Y O
B O
Ċ Ċ Ċ
sf
f
C
C
g
C C
W
C C S
C
C
C
g
W
PEL10 – 39 PEL10 – 39

#
#
#
#
B
C
g
C
C
C
B
B
C
Ċ
C
CC
C
S
C
C
C
CC
C
C
C
B
B
Ċ
C
C
C
C
!
C
C
C
C
C
CC
Ċ
B
C
B
B
C
C
C
Ċ
C
C
B
B
C
C
Ċ
C
S
B
C
C
C
BB
B
C
S
C
C
C
C
B
B
C
C
C
C
C
B
C
C
CC
C
C
C
C
C
S
C
C
C
C
C
C
C
? C
C
C
C
S
C
C
#
33
! S
C
C
C
Ċ
CC
Y CĊ Y ĊC
Ċ
C C
W C B Y C .
B Y
Y .
Y
CĊ Y C
Ċ C Y C
B BB
C
C.
C
C.
ff
Y C Y B B
Y C
C C Y C
I
Y B B C C Y C
I
Y Y B B
Y
Y BB C
Y Y B B
Y
39
! C Y C C
# Y C
Y BBOO
Y CC C C Y C C B
O
BBO
X BBOO
p
C.
O
Y - O
C
Ċ Ċ
.
B O
B B S
Y B - C
46
! B O
# S
Y C. S
B O
B C C C C
I
Y C. S
Y C.
Y . Ċ X C . B
pp
W
W
C C C C
I
Y C . Ċ Ċ
W
52
!
W
C C C C
I
Y C. Ċ Ċ Y B
W
Y
poco cresc.
Y
Y C C Y C
Y
Y
Y CC.
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
57
! X C
Y
Y
Y
Y C CC
C S C
S S S
I
C C C C C Y B
B
B
cresc.
I
C C C C
Y
B
B
C
C
C
C
W
C
C
W
C
C
W ? C
W C
I
f
C C C C C Y C C C CC Y C
C S
63
! g
C
O
O
sf
C.
g
C
O
O
sf
W . C
W C. C.
W C.
g
C
O
O
sf
W C . C.
C.
C.
O
O
dim.
C.
C.
C.
C.
O
O
C.
C.
B
B
C.
C.
pp
C.
C C C
I
PEL10 – 40 PEL10 – 40

#
#
#
!
B
B
C
C
C
Ċ
C
C
C
Ċ
C
BB
C
C
C
C
C
g
C
C
BB
C
CC
C
C
Ċ
C
Ċ
C
BB
C
g
C
C
C
CC
C
BB
C
C
C
C
C
g
C
B
C
CC
C
C
C
C
C
!
C
C
C
CC
B
C
C
Ċ
C
Ċ
C
C
C
C
C
!
Ċ
C
CC
CĊ
S
Ċ
C
B
C
S
Ċ
C
69
!
Y C . Ċ Ċ B
W
W
C C C C
I
Y C . Ċ Ċ B
W
W
C C C C
I
Y C . Ċ Ċ Ċ
W
cresc.
W
W
76
! C . C . C .
S
C
ff
W C W C
C C S
C
W C C
C
C C S
C
W C C
W C
C
C
Ċ
CC
Y CĊ Y ĊC
Ċ
C C
W C
W C C B Y C.
C B Y
C
Y .
Y
Y Ċ
C
Y C
C
C .
C
C.
82
!
B
BB
# Y B B
Y C
Y
C C Y C
I
Y B B C C Y C
I
Y Y B B
Y
Y BB C Y C C C
Y Y B B
Y
Y
Y BBOO
Y CC
CC Y CC B
O
BBO
88
! X BBOO
O
O
O
O
Q Q
Y O
p
Y -B O
Y -B O
ff
Ċ Ċ S
Y C C C
C.
C.
C.
C. C C
C C C
C.
C
C .
2
Vivace
G
G
W 44 . #
Ċ Ċ Ċ Ċ Ċ Ċ Ċ C. C. C C C C B Ċ Ċ Ċ Ċ Ċ Ċ Ċ Ċ C. C. C C C C B
p
BB
# W
BB BB CC C
4 C
BB BB BB CC C C
5
#
#
W
O
O
fp
W
C.
C. C.
C. C.
C. C.
C
G
C C B O
C C
G
C. C.
C. C.
C. C.
C. C.
C C Ċ
C. C.
Ċ
C
C. C.
Ċ
C
C. C.
C C.
C. C.
AA
sf
C. C.
C.
C.
C.
C.
C. C.
C.
PEL10 – 41 PEL10 – 41

!
!
!
!
!
!
C
C
AA
B
Ċ
C
C
C
C
CC
C
C
S
C
C
C
C
Ċ
A
A
!
C
!
!
!
Ċ
C
C
C
C
#
C
9
W
W
B O
C C C C
p
I
C.
G
Ċ Ċ Ċ Ċ Ċ Ċ Ċ Ċ Ċ C . C . C C C C B Ċ Ċ Ċ Ċ Ċ Ċ Ċ Ċ
C. C .
C . C.
C . C.
C . C CC CC CC C CC C C C C
CC CC CC CC
13
!
W
Ċ Ċ Ċ Ċ Ċ C
f
C C C
I
W #
CCC
B C C C C
C
C
C
C
C
O
mp I
C.
C. . . . . .
G
B O
C C
G
W C C C C
W C C Ċ Ċ
C. C .
C . C .
C . C .
C . C .
C . C .
C . C .
C . C .
C .
17
!
W
# W
T C . C.
C.
g
C.
S C C C C C C C C C C C C C C C C C C C C C C C C C
C C C C C C C C
I
pp
T S A
C C C C C C C C
A
21
!
W
C
C C C C C C C
W #
A
A
S C C C C C C C C C C C C C C C C
I
C C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C C C C C C C C C
25
!
W
C
C C C C C C C
W #
C C C
S C C C C C C C C C C C C X C C C C
I
p
C C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
X C
C C C X C
C C C
29
!
W C C C C X C C C C
W #
C S C C C C C C C C X C C C C
I
mf
B
B
C C C C C C
C C C C C C C X C
X C
C X C
C C C C
cresc.
C
C C C
C
PEL10 – 42 PEL10 – 42

!
!
C
Ċ
C
Ċ
Ċ
CĊ
C
Ċ
!
Ċ
Ċ
CCĊ
B
CĊ
CC
Ċ
C
Ċ
B
A
Ċ
B
!
C
Ċ
33
!
W #
C C C
# W C. W C . C
C.
C
Ċ Ċ Ċ B O
sf
C
G
C C B O
C C
G
C C Ċ
C C. C
C . . C C . . C.
C . C C . . C
C . . C C . . C.
C . C C C
. . . C C
C . C . . C
. C . C . .
Ċ
C
Ċ
C
C C.
37
!
W AA B O
C C C C
sf
p
I
# W
C.
C. C C . . C .
G
Ċ Ċ Ċ Ċ Ċ Ċ Ċ Ċ Ċ C . C . C C C C B
C. C .
C . C.
C . C.
C . C CC CC CC C CC C C C C
41
!
W Ċ Ċ Ċ Ċ Ċ Ċ Ċ Ċ Ċ
W
C C CC CC CC C C
Ċ Ċ Ċ Ċ Ċ C C Ċ
cresc.
CCC C C C
I
O
Ċ Ċ Ċ Ċ Ċ CC Ċ Ċ CC Ċ Ċ CC
C C C C
I
Ċ C C C C C
I
Ċ C C C C C
I
45
!
W Ċ Ċ
f
C C C C
I
C C C C
I
Ċ C C C C
I
W #
C C.
B O
C C C C
I
dim.
C. C.
C. C.
C. C.
C. C.
G
B O
C C C
C. C.
C. C.
C. C.
W
C.
48
!
W
# W C .
G
C C C C
C. C.
W C C CC.
C. C.
C. C.
CC.
C. C.
W C.
C
C. C.
CC.
C. C.
C C.
C. C.
C.
p A B R
T C R
. C. C. C.
C.
C.
C.
PEL10 – 43 PEL10 – 43

#
#
#
#
#
B
B
B
B
B
S
C
C
C
C
C
C
B
B
S
B
B
S
S
B
B
B
B
BBB
B
B
C
C
C
C
C
C
B
B
S
B
B
S
B
S
B
B
C
C
C
C
C
C
B
B
C
C
B
B
B
B
B
BBB
B
B
B
B
BBB
B
B
S
B
B
B
B
B
B
B
B
B
B
B
B
B
B
BB
B
B
S
B
B
BB
B
BB
B
BBB
B
B
B
B
B
B
BBB
B
B
B
B
B
B
B
B
THOUGHTS DURING CHRISTMAS-WEEK 1944
1
Moderato
! Y 4
3 :
p
CC.
Y 4 3 : O
O
C C.
CC .
BB C C.
O
O
C C.
B
B
O
O
C
C
C
C
BB
C C CC
CC .
C C.
O
O
O
O
C
C.
O
O
O
O
O
CC.
CC .
CC .
BB C C.
O
O
C C.
9
! Y B B
C
C.
Y
O
C
C.
BB
C C C C.
O
C
O
C.
CC.
C
C.
CC .
C
C.
O
O
O
mf
O
O
CC.
CC .
CC .
B B C C.
O
O
CC .
O
O
O
O
17
! Y
Y
CCC
p . CC C.
C
C .
C
C.
CC
C.
C
C.
O
O
mp
O
O
CC.
CC.
CC.
BB CC.
O
O
CC.
O
C
CC
C
CC
B
BB
O
C
CC
C
CC
Ċ
CC
C
C.
Ċ
CC
C
C.
CC
C.
C
C.
BBOO
O
O
25
! Y S
Y
f
B
O
C
C
C
C
C
C
O
C
C
C
C
C
C
O
C
C
C
C
C
C
Ċ
C
C
C.
Ċ
C
C
C.
ĊCS C
C
C
C
C
C
S C
C
C
C
C
C
Ċ
C
Ċ
C
C
C.
C
C.
O
X
O
W
O
O
O
BBO
O
O
33
! Y O
: # W
C O h C C C C C C. C. C C C. C. C C C. C. O
p
Y : W
O
O
BBO
BBOO
O
O
X
W
O
O
O
O
BBO
O
PEL10 – 44 PEL10 – 44

!
!
B
B
BB
B
C
C
B
B
S
:
:
C
B
B
C
C
C
S
C
B
B
S
C
C
S
C
S
B
BB
B
C
C
B
B
S
B
C
C
B
B
S
C
C
CCĊ
C
C
CCĊ
C
C
B
B
C
B
B
B
BB
B
B
B
BB
B
B
B
BB
B
B
B
BB
BB
B
C
C
BB
B
BB
BB
B
BB
C
CC
C
CCĊ
CCĊ
CC
CCCĊ
C
BB
B
C
B
BB
B
B
B
B
B
S
C
#
#
:
2
41
# W : S C C.
CC
B
C C C
O
. C.
!
B
C. C. C.
O
f
# W : B O
ĊC ĊC ĊC O
!
C C C B C C C C C C . O
p
BB
C
C
O
B
B
W . O
49
# W
# W
S C C.
f
C C.
C C.
O
C. C. C.
O
B O
ĊC ĊC ĊC Y
O
C C C B
Y C C Ċ O
! Y
:
p
! O
O :
Y
Y
X
Y
O
X C C
C C.
O
3
57
!
W
W
pp
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 B C
C C C
O B
C C C
C C C
C C W C
65
!
W C C C C C C C C C C C C C C C C C C C C
C C C C C
C Ċ Ċ Ċ O B
W #
W
X
C C W C
C C X C
C C C
C C C CC.
CC. CC. O
73
!
W
f
# W O
C C C C C C C C C C C
O
C
C.
C
C.
CĊ
C
C
C.
O
O
C C C C C C X C C C C C C
O
O
C
C.
C
C.
C
C.
BBO
O
O
81
!
C C C C C C C C C C C C C C C C C C B
W
T CĊ CC
T CĊ CC
CĊ CĊ
BBO
C C
C C
C C
O
h
h
O
# W O
O
O
O
O
:
O
O
W . W C .
B S
C.
PEL10 – 45 PEL10 – 45

S
BB
B
S
B
B
BBB
B
B
B
C
B
B
B
B
BBB
BB
B
C
C
C
B
B
B
BB
B
B
B
B
B
B
S
B
B
BBB
BB
B
B
B
BBB
B
B
B
B
B
B
B
B
B
BB
BB
B
B
BB
B
B
B
B
B
B
B
B
BB
BB
B
CC
C
h
h
C
B
B
T
B
B
B
B
BBB
B
B
B
BBB
BB
B
C
B
B
g
C
T
B
B
BB
B
B
BB
B
C
B
B
B
B
B
B
C
C
C
g
BBB
B
T
B
B
BBB
BB
B
BB
C
C
S
S
C
B
B
B
B
S
S
BBB
B
T
T
BBB
B
B
B
S
B
B
:
C
!
4
89
!
W : S C
p
# W : O
O
C C C C C C C B C S C
X
X
O
O
O
O
O
C C C C C C ĊC ĊC ĊC W O
S C
O
B C
O
O
O
B C
O
C
W C
C C C B B C C S
C T S C
G
: # X
cresc.
f
C.
# W O
O
: X
O
O
O
O
O
O
O
C
C
98
!
5
105
# : S C C . C C. C C. C.
C
ff
# : O
CC C C. C. C C C S C C. C G
C C .
C C C C C Ċ T S C C
h
. C C. C C. C.
C
O
O
O
O
C
C
G
C
g
C.
O
O
CC C C. C. C C G
C C C C C Ċ
h
O
O
C
C
G
C
g
C.
O
O
113
#
ĊCĊC ĊC ĊC CC Ċ C
Ċ C
CC CC Ċ C
Ċ C
CC CC C C C C
Ċ T S
ĊCĊC ĊC ĊC ĊC ĊC ĊC ĊC ĊC ĊC ĊC BB S
# :
O
CC
C
BB
CC
sf
C
BB
O
O
O
O
sf
O
6
121
! : O
# : O
p
f (2nd time )
O
O
O
O
Y C Y B C O
O
BBOO
O
Y
O
O
O
O
Y
O
O
129
! :
O
Y O
B C O
O
BBOO
O
O
O
# :
O
O
O
O
O
O
O
O
BBO
BBO
BBO
BBO
PEL10 – 46 PEL10 – 46

B
B
B
BBBB
B
B
BB
B
C
B
B
B
S
C
C
C
B
B
B
BB
B
B
B
B
C
B
B
B
BB
B
B
B
C
C
B
BB
B
B
B
B
B
BB
B
B
S
B
BB
B
B
B
B
B
C
BB
B
B
C
C
B
C
B
BB
B
B
BB
B
B
B
B
Ċ
BB
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
C
C
C
!
B
B
B
B
B
C B
B
B
Ċ
BB
B
B
B
B
S
C
C
C
B
B
B
B
B
?
B
B
B
BB
B
B
B
B
B
?
:
:
¯
#
7
137
! : BBOO
pp
# : O
O
O
(2nd time cresc. poco a poco)
O
O
O
O
O
Y BBO
O
Y
Y
O
O
Y BBO
O
O
O
BBOO
O
BBOO
O
145
!
O
O
W
W BBO
O
W BBO
O
O
W BBO
BBOO
BBO
BBO
O
O
( ff 2nd time)
# O
:
O
O
O
O
O B
C
O
O
O B
C
O
O
2nd time
153
# : B O
O
O
O
O
O
O
O
O
O
O
O
8
# :
p marcato
cresc.
G
B C C B C C B C C B C C B C C
C B C C
mf
W > Y C > C > O
161
#
W W
W
sf
# S
O
G
C
C
O
BBO
O
O
W W
W
sf
S
O
G
C
C
O
p
G
O
B O
B C C
O
O
O
cresc.
W
C B C C W C
OY C B O Y C
Y C B O
Y C
Y
169
! BBO
BBO
BBO
BBO
O
O
O
O
O
O
O
O :
ff
p
p
G
G
G sf
G sf
# S S S S
S
Q
O
? !
PEL10 – 47 PEL10 – 47

!
!
!
B
B
C
B
B
B
B
B
B
!
C
B
B
C
B
B
B
B
B
B
B
B
B
B
B
B
BB
B
B
B
B
B
B
B
B
C
B
C
B
C
BB
B
B
B
B
B
B
B
B
B
C
C
C
C
!
B
B
B
B
C
B
BB
B
B
B
B
B
B
B
B
C
C
C
C
C
C
B
B
B
B
C
C
B
C
B
BB
B
B
B
B
B
C
C
C
C
C
B
B
B
B
BB
B
B
C
B
B
B
B
C
C C
B
B
B
B
B
BB
!
!
!
9
177
! :
W
BBO
C C C C C C C C C C C C
O
W BBO
O
W BBO
O
W BBO
O
W
! : C C C C
pp
Y X Y
X C C Y C
Y C C Y C
Y C C Y C
Y
BBOO
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con 2 pedale
185
C C C C C C C C C C
Y
O
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O
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C O
C C C O
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:
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193
!
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pp
O
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B
B
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Y BBOO
O
BBO
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201
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217
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PEL10 – 48 PEL10 – 48

!
!
!
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:
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11
225
!
W W
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pp
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C
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233
!
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eva 1.
X C X C X
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C
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12
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241
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ff marc.
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246
!
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# W W
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C
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252
!
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258
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p
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PEL10 – 49 PEL10 – 49

!
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266
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15
290
Confidential – Interlude
# W W S C.
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PEL10 – 50 PEL10 – 50

!
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18
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346
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PEL10 – 51 PEL10 – 51

#
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PEL10 – 52 PEL10 – 52

#
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21
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PEL10 – 53 PEL10 – 53

#
#
Ċ
C
S
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#
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C
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23
418
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24
434
! Y :
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Y : O
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442
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450
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Epilogue
Meno mosso
W W
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pp dolce e semplice
O
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PEL10 – 54 PEL10 – 54

!
!
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474
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pp
# W W O
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482
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PEL10 – 59 PEL10 – 59

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PEL10 – 60 PEL10 – 60

PEL10 – 61

Douglas Lilburn’s piano music
The journey
This edition marks the end of a 37-year journey of
discovery of Douglas Lilburn’s music for piano. I was first
introduced to Lilburn’s music in 1988 by music teacher
Vivian Bevan when he played a rather low-fi cassette
recording of Lilburn’s Drysdale Oveture (PEL21). This
moment set off a life-long love of his music. My time at
the School of Music at Victoria University of Wellington,
and meeting Douglas Lilburn in 1993 was also influential.
When leading New Zealand’s Trust Records I had occasion
to propose the development of the complete edition
of Lilburn’s piano music to the Trust’s board. Together
with Robert Hoskins, and later Rod Biss, a four-volume
recorded series was conceived with celebrated pianist
Dan Poynton. A parallel sheet music edition was also
devised, later culminating in eight editions as companion
volumes to the recordings. These were reorganised into
five thematic volumes for the international market.
This edition of Christmas pieces concludes the sheet
music series. Notably, it also marks our final project
typeset in Graphire Music Press. This remarkable music
typesetting system was our preferred notation system
since Promethean Editions’ inception in 1997. While it
ceased development in 2000, we have been able to use it
on legacy computers for the past 25 years. However, we
bid GMP farewell with this final installment.
I would like to acknowledge all those who have contributed
towards the successful publication of this series. First,
Lloyd Morrison who generously supported the recorded
series, the print series, Trust Records and Promethean
Editions. Others have contributed, including Creative
New Zealand, the Lilburn Trust, and the HRL Morrison
Music Trust. I would like to acknowledge the intellectual
and research leadership from Robert Hoskins and Rod
Biss as editors, and Gillian Bibby who guest-edited Pieces
for Piano for younger pianists. You can read more about
Hoskins and Biss’ work in the next section. I would
also like to acknowledge the patience of various music
typesetters, including Jared Commerer, Thomas Liggett,
and Ben Woods, all of whom have mastered GMP and its
persnicketiness. Lastly, I would like to acknowledge the
Alexander Turnbull Library and the Alexander Turnbull
Library Endowment Trust for their support and faith in
Promethean Editions and this series.
Dr Ross Hendy, Publisher
The series
The Douglas Lilburn Complete Piano Music Edition
comprises of eight volumes published in tandem with
the award-winning recordings by Dan Poynton. The
series includes 46 works (10 larger works such as sonatas
and sonatinas, and 26 smaller works under 5 minutes) –
a high total that came as a surprise to the editors when
they set about compiling the composer’s extant piano
works from files at the Alexander Turnbull Library at the
outset of the project. Writing in 2011 about the insights to
be gained from studying Lilburn’s output for piano, Rod
Biss commented that “the symphonies and overtures are
the public Lilburn striving to create a music that belongs
to New Zealand. But the piano music lets us hear a more
exploratory, unusual and quirky side of him. This music
is more personal. He reveals deep emotions, struggles
with strange harmonies, flirts with atonality; he listens to
and records the sounds of birds in his garden.”
For those considering better acquainting themselves
with Lilburn’s piano music, Hoskins suggests starting
small. “The sonatas, two sonatinas and the chaconne
are bound to make an impression but I find they are not
necessarily the right place to start; rather, begin with the
shorter lyric pieces that touch on ecstatic and meditative
moments of experience, and provide helpful clues to
the interpretation of the larger works.” Biss, meanwhile,
stresses the overall accessibility of Lilburn’s pianistic
oeuvre. “This music is for anyone who plays the piano; in
no way was it intended for professionals alone. Lilburn
was a good pianist but he had no interest in unnecessary
virtuosity or pianistic display. For teachers, it will be a
goldmine.”
Reflecting on his involvement in the project, Hoskins
states that “Douglas Lilburn’s contribution to the pianist’s
repertoire remains unsurpassed in New Zealand and it
has been a great privilege to get to know it first-hand.”
Biss echoes this sentiment: “The Lilburn piano music
has been a revelation to me, I thought I knew his music,
but there was so much more than I had imagined, all of
it fascinating.”
The editorial process
Editorial oversight for the series has been handled by
Dr. Robert Hoskins (overleaf left), formerly an Associate
Professor at Massey University and the New Zealand
School of Music, and Rod Biss (overleaf right), formerly
PEL10 – 62

CC
C
C
BB
C
B
C
C
CC
C
h
g
C
CC
C
C
C
C
C
CC
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context. Douglas frequently liked the aural picture of
sound coming through a mist, or featuring a weighty
resonance warmed by the pedal rather than a Germanic
percussiveness”.
of Schott London, Faber Music and Price Milburn Music,
who was instrumental in first publishing Lilburn’s piano
music in the 1970s. Having worked with Lilburn directly
on these early publications, Biss has revisited original
source materials for the series. Together, the editors have
carefully considered and clarified Lilburn’s manuscripts
and early publications in preparing these volumes as
both scholarly and practical editions for performance.
Working so closely with Lilburn’s piano music allowed
Hoskins and Biss to gain some interesting musicological
insights into the composer’s sonic preferences.
The Promethean editions of Lilburn’s piano music
publishes definitive new texts based on close
examination of manuscripts and published editions
that have been collated to produce versions that are
meticulously faithful to Lilburn’s intentions. Lilburn
always had a clear idea of how he wanted his works to
sound, and this is reflected in the attractive clarity of
composer’s manuscripts (this is not to say they were
without their idiosyncrasies, such as Lilburn’s practice
of writing stems on the wrong side of noteheads).
Referring to the editorial process for Lilburn’s Sonatina
No.2, published in the eighth volume of the series,
Biss remarks “…it had always seemed to Hoskins and
me that the pedalling also added a crucial element to
352
the harmonies of the piece. There were effects where
#
W
the pedal would sustain a bass note while unexpected
p
# S WW .
W
chords floated above in the right hand; Nielsen referred
to them as ‘poignant dissonances’”.
Generally speaking, Lilburn is very precise in his
notation but there was a certain individuality about his
manuscript: he would, for example, group quavers so
that the performer knew which one carried an emphasis
instead 358 of grouping them in regulation threes and fours;
#
he indicated some pedalling but generally preferred to
signify what he wanted with phrasing marks; he also
brought to his writing an awareness of string bowing and
# S
his piano music has many examples of phrases with dots
or tenuto marks below them.
“Sometimes,” says Hoskins “we have had to look beyond
the letter to the spirit or slant of the manuscript to fully
harvest 364 his intentions. But there is always the ‘devil in
the detail’ causing restless nights: the BÍ on the third beat
of the right hand of measure 371 in the great Chaconne,
for example, has been queried by some performers who
believe that Lilburn intended a CÍ so what to do? Well,
we have retained the holograph’s BÍ in our edition as
it seems to be in keeping with the patterns Lilburn has
established.”
XXII
semplice
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One of the most notable compositional preferences that
revealed itself to the editors involved Lilburn’s use of
pedalling. In a 2018 article for music journal Ritmico,
Biss sums up Lilburn’s approach to pedalling by relaying
pianist Margaret Nielsen’s experience of playing many
of Lilburn’s piano works: “Over the years, Douglas and I
frequently discussed pedalling, especially the versatility
of the sustaining pedal and I quickly realised that he
really liked what that pedal could contribute toward
colour, character and sheer quality of piano sound
providing the pianist listened absolutely attentively
to what sounds were emerging from the musical
PEL10 – 63
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And about phrasing, Biss observes he hated a vague slur
375
aimlessly floating for bars in the air. Lilburn wanted his
!
students to think like violinists. “Imagine, how a string
#
OO
OO
OO
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W
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f
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player would bow that phrase, or how a singer would
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O
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O
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C OO
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W
Y C C Y C CCC
Y CCOO
breathe,” he’d say. If you thought like a violinist, he told
us, you would end up with phrasing that made musical
sense.”
CCOO
OO
OO

PEL10 – 64

THE DOUGLAS LILBURN COLLECTION
A SONG OF ISLANDS • Orchestra • PEL23
BACKBLOCK MEDICAL SERVICE • Chamber Orchestra • PEL30
CHRISTMAS PIECES • Piano • PEL10
DIVERSIONS FOR STRING ORCHESTRA • String Orchestra • PEL26
DRYSDALE OVERTURE • Orchestra • PEL21
LANDFALL IN UNKNOWN SEAS • Narrator and String Orchestra • PEL27
PIANO PRELUDES • Piano • PEL13
PIANO SONATAS • Piano • PEL11
PIANO SONATINAS • Piano • PEL12
PIECES FOR PIANO • Piano • PEL09
PRODIGAL COUNTRY • Baritone, Chorus and Orchestra • PEL22
SINFONIA FOR STRINGS • String Orchestra • PEL28
SINGS HARRY, HOLIDAY PIECE, THE MAGPIES • Voice and Piano • PEL25
SUITE FOR STRINGS • String Orchestra • PEL29
SYMPHONY NO.1 • Orchestra • PEL24
THE COMPLETE PIANO MUSIC EDITION • Piano • PEL01–PEL08
ISMN 979-0-67452-290-8
www.prometheaneditions.com
Printed in Australia • PEL10
Douglas Lilburn Christmas Pieces PEL10