Viola Concerto (Erdélyi restoration)

PROMETHEAN EDITIONS
BÉLA BARTÓK
Viola Concerto
(Erdélyi restoration)
Viola & Piano

BÉLA BARTÓK
Viola Concerto
Viola and Piano
(Erdélyi Restoration)
PROMETHEAN EDITIONS
WELLINGTON

Viola Concerto (PE066), for Viola and Piano by Béla Bartók, critical
restoration by Csaba Erdélyi (1992).
© Csaba Erdélyi 1992
Published exclusively by Promethean Editions Limited
First edition © 2002 Promethean Editions Limited (201508)
Series Editor: Ross Hendy
Editor: Thomas Liggett
ISBN: 978-1-877218-66-8 (print)
ISBN: 978-1-77660-066-3 (ebook)
ISMN: 979-0-67452-060-7
Promethean Editions Limited
PO Box 10-143
Wellington
NEW ZEALAND
http://www.promethean-editions.com
No part of this publication may be reproduced in any form or by
any means without permission in writing from the Publisher.
PE066 – ii

Béla Bartók’s Viola Concerto (1945)
Foreword to the Critical Edition
The Viola Concerto was commissioned by the famous Scottish violist William Primrose in
early 1945, the last year of Bartók’s life, when the composer was already severely ill. Although
this was the first time that Bartók had chosen to compose for solo viola, the viola parts in
all his string quartets – which demand the highest level of technical accomplishment from
the violist – bear witness to his ever-creative understanding of the instrument’s special
character and sonority. Inspired by Primrose’s artistry, Bartók raised the viola to become the
virtuoso-expressive vehicle of a new vision in music he had not sensed before. The solo viola
is identified with the human being at its highest vantage point, looking through the gateway
between life on Earth and eternity. While the Piano Concerto No.3 – which he worked on
simultaneously – was a peaceful offering to his wife, the Viola Concerto sounds strongly
autobiographical.
In his mind, Bartók held the Viola Concerto complete, and he began to write a carefully
considered draft on the loose pieces of manuscript paper he had to hand. The orchestral part
is written in the form of a piano reduction, sometimes expanding to three or four staves for
clarity in contrapuntal passages, and occasionally the instruments that he had in mind for
the orchestration are specified. Most of the first movement and the long orchestral interlude
in the third movement are written out in considerable detail, but throughout the rest of
the score we can sense the composer’s urgency in completing the viola part together with a
skeleton accompaniment which he would later have elaborated.
It is to our lasting regret that Bartók did not have the time to prepare the score in his
customarily meticulous manner. His illness rapidly consumed him, and he died on 26
September, 1945. The remaining draft of the concerto contains all the essential messages of
the music but leaves us without any indications of tempo, dynamics, phrasing or articulation
(and let us remember that this is how we look at early music, Bach’s included).
PE066 – iii

Following Bartók’s death, Tibor Serly, a compatriot friend, and fellow composer, undertook
the difficult task of deciphering the manuscript and preparing it for performance. Both
Serly and Primrose worked together to prepare the orchestral score which Boosey & Hawkes
published in 1950. We owe a debt of gratitude to them for their faith in the importance of
this masterpiece, and for working against the tide of opposition to realise a work, formerly
dismissed as an unfinished sketch, which has since become a staple of the viola repertoire.
My motivation in undertaking this critical restoration was the discovery that the Boosey
& Hawkes publication contains many divergences from Bartók’s manuscript. All the
performance indications – reflecting as they do the personalities of Serly and Primrose –
and several editorially composed passages, are printed as if they were the composer’s own
intentions. Whilst we have no power to bring Bartók back to give us his definitive version,
I believe we must follow as closely as we can the notes he did write. What remains is a very
powerful and concise concerto.
This edition is intended to serve as a basis for practical performance. All indications of tempo,
mood, expression and articulation are editorial, with the exception of those in parentheses,
which are the composer’s original. In places, the piano reduction has been fleshed out, and
passages have been re-cast to facilitate playability. Some of the sections which were left
blank in the manuscript and filled by Serly have been retained, with some revision. A critical
apparatus is supplied so that comparison may be made with the work as it appeared in the
original manuscript draft, and informed decisions may be taken with regards to the editorial
corrections and suggestions made throughout the work. The solo viola part is printed
twice. First I give my fingerings and bowings as I performed them for the CD recording
(Concordance, 2002). The second time only tempo and dynamic suggestions are printed, in
order to provide a clean, personal copy for the pencil marks of other players. It is my hope
that through this edition, Bartók’s Viola Concerto will be free of the errors that have been
present since its first publication.
I gratefully acknowledge the invaluable suggestions I received in preparing this restorative
edition from Professors László Somfai and Elliott Antokoletz, Bartók experts of the highest
international acclaim, as well as the eminent Hungarian composers György Kurtág and Péter
Eötvös. I also wish to express my lifelong gratitude to Professor László Dobszay, my first guide
to the essence of Bartók’s music: “only from pure source”.
PE066 – iv

Programme note
The concerto is in three movements, performed without a break. The central slow movement
is connected to the outer movements by two energetic short interludes.
The first movement is in sonata form and starts in the tempo of a wavering heartbeat. The
solo viola, like a distant comet, approaches from outer space, while the timpani sound the
irregular pulse of the ailing composer. The comet lands, and the drama on Earth begins. The
main theme journeys through moods of innocent hope, despair and anger, always searching
for home. Freshness and warmth from the orchestra provide a large, open dimension in
which the composer finds temporary comfort.
The second movement offers us a simple three-part song of exceptional beauty. It is a prayer,
sung in the Hungarian night, calling on the celestial, yet tormented by the diabolical. In
Bartók’s entire oeuvre, this melody stands without equal.
The ensuing interlude reminds us of the original theme of the first movement for the
last time. After a short cadenza, fanfares and pizzicati charged with primitive, elemental
power lead the way into the energetic third movement,throwing us into a community
dance inspired by Romanian folk material. The whirl of the dance engulfs all individuals.
A mountain shepherd pastoral slows the frantic pace down for a while, but the frantic first
dance soon returns with increased velocity. In the vortex of folk dance the original comet
shoots back to outer space again while the audience comes to realise that the music has
already run out.
Csaba Erdélyi
March 1992
Support for the Critical Restoration
The letters quoted below were written shortly after the first performance by Csaba Erdélyi of
his restoration of the Viola Concerto in January 1992 at the Budapest Opera House, with the
Budapest Philharmonic Orchestra conducted by Erich Bergel.
Dear Professor Erdélyi,
I should like to thank you for your live solo performance of Bartók’s Viola Concerto with the
Budapest Philharmonic. Your performance has not only demonstrated your remarkable interpretative
insights into this great work, but also the results of your scholarly research into the problems of
PE066 – v

a composition left incomplete by Bartók’s untimely death. In its present published form, the work
can only be referred to as the “Bartók-Serly” Viola Concerto. From my own research into Bartók’s
compositional process, I find your suggested solutions to the many problems remarkably convincing.
It is your rare combination of artistic and musicological abilities that is so essential for arriving at a
definitive edition of this enigmatic score.
With warmest wishes, Cordially,
Elliott Antokoletz
Bartók expert, author of The Music of Béla Bartók
Dear Professor Erdélyi,
I cannot thank you enough for sending me Bartók’s “reconstructed” Viola Concerto. I must confess
that I always felt rather uncomfortable, even somewhat embarrassed when students of mine were
studying it, too may times things seemed to me just not being “right”. Your efforts now permit me to
have a new, quite different (I hope the right) approach to this great work. You rendered invaluable
service to Bartók and to all violists. My warmest congratulations also for your superb performance
of it. I am very much impressed how truly in his spirit and style you realise all what death prevented
him to notate unmistakenly. Thanks again.
I am, with highest regards, yours
Eugene Lehner
Violist, member of the Kolisch Quartet, friend of Bartók
Dear Mr Erdélyi,
Thank you very much for sending me the Bartók Concerto material with your letter. As you pointed
out, the intentions of Messrs Serly and Primrose in completing the concerto and thus bringing it into
the repertory must be appreciated. But also, your dedication in going back to the manuscript and
revealing the original text should only be encouraged, for it restores the concerto to its rightful place
as a major work of one of the twentieth century’s greatest masters. Hearing your tape is a revelation.
You have my full support.
Best wishes,
Walter Trampler
Viola soloist and recording artist
Dear Csaba,
I want to thank you and congratulate you in the same breath for the valuable services you have
performed in restoring the Bartók Viola Concerto. Dozens of questions I have had have been
clarified. I can now look forward to studying the work again, as if for the first time. Let me add an
additional “bravo” for your wonderful performance, which offers living proof of the validity of your
restoration.
With my warm regards,
PE066 – vi

Michael Tree
Violist of the Guarneri Quartet
Dear Csaba,
Your Bartók Concerto is superb and I love it. I like it better than the existing version. It seems much
more authentic and truer to Bartók’s intentions. I plan on learning your version. Congratulations!!!
All my best, Your dear friend,
Emanuel Vardi
Viola virtuoso and recording artist. He knew Bartók and was a close friend of Serly, who
dedicated his own viola compositions to him.
Dear Professor Erdélyi,
Thank you very much for sending me the tape recording and the score of your orchestration of
Bartók’s Viola Concerto. The cassette has become one of my “automotive” musical companions, and
the score is in my files awaiting future comparative analysis for inclusion in the second volume of
my study Bela Bartók: Life and Work (University of Nebraska Press, forthcoming). Please accept
my congratulations for your achievements as performer and transcriber of this thorny, posthumous
Bartók work.
With all good wishes, Sincerely,
Benjamin Suchoff
Former curator of the Bartók Estate
Hello Csaba, it is me Kurtág.
The situation is that we were on the road through almost all of January and it took me a very long time
until I could properly listen in quiet and I like the recording very much. This is as much as I can say about
it. In anything further I am basically uncertain in such a way that I am saying: one has to try things out
on the spot, and if they work, then that is just fine. But, you have done many convincing things and I have
to tell you that it gave me explicit pleasure to listen and that it was this time that I came to love this work.
Yours,
György Kurtág
Hungarian composer
PE066 – vii

PE066 – viii

VIOLA CONCERTO CRITICAL RESTORATION BY CSABA ERDÉLYI
Béla Bartók
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This edition © 2002 Promethean Editions Limited PE066 – 1
ISMN: 979-0-67452-060-7
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PE066 – 2

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PE066 – 3

41
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˛
tornando
˛ ˛ ˛ ˛
3
# ˛
# ˛ . ‹ ˛ ˛.
˛ ˛# ˛ ˛- #- ˛
&
Ó Œ ‰ j ˛
˛.
3
al Più risoluto Œ = ◊. 74
4 5 # ˛ . #> ˛ ˛ ˛ ˛ # ˛# ˛ # ˛ n˛
n˛
n˛
˛.
˛> . # ˛# ˛ ˛- n˛
n˛
n˛
3
3
3
f
4 5 [Fl.]
# ˛
Œ
. #> ˛ ˛ # ˛ n˛
˛ # ˛ # ˛ n˛
n˛
˛ # ˛.
˛> . # ˛#
˛
3 3
3
n #˛ . f
4 5 Ó
# ˛ . # > ˛ ˛
&
n>
˛. ˛. n ˛ ˛. . # ˛ >
PE066 – 4

49
&
&
&
˛.
B
≥
˛
>
˛ ˛ n˛
3
n˛
3
n˛
˛ ˛n˛
˛ ˛#
˛
3
3
˛# ˛#
˛ ˛ n˛n˛# ˛# ˛ # ˛ ˛.
˛.
3
# ˛ ˛ j
˛
˛
.
˛
3
3
>
˛
3
˛ .
>
˛
n˛
# ˛. ˛. ˛.
˛ ˛#
˛# ˛n˛n˛# ˛# ˛# ˛ ˛.
3
n˛b˛
-
b˛b˛
n˛
n˛-
˛.
˛.
>
n˛
n˛
4 3 4 3 4 3
n ˛.
3
n> ≥ ˛ ˛ ˛ ˛
3
˛ # ˛ ˛
3
# n˛
n˛
b˛
b˛
˛ ˛ ˛ # ˛ ˛˛ ˛ n> ˛ b˛
˛ ˛ ˛
b˛
b˛
b˛
3
n˛
˛.
˛ ˛ n˛
3
n ˛ .
Ÿ
n˛
>
51
B
&
&
˛- ˛ ˛ ˛ n˛
J˛.
3
accelerando
>
˛ b˛
n˛
˛ ˛ ˛ ˛ ˛ Œ
‰
b˛
˛
J˛. ‰ Œ ˛˛ ˛ b˛
˛ ˛
al Tempo giusto Π= 96
˛
4
4
4
n-˛
˛ ˛
f sonore
Œ
Œ
˛
mf
?# nˇ.
# ˛ ˛ ˛ ˛ ˛
˛# ˛ ˛# ˛ n˛
#˛
# ˛# ˛ ˛# ˛ ˛.
# ˛ . nˇ
-
. ˇ
accelerando
˛> n
> ˛ ˛> ˛> ˛ ˛>
≥
al
Ÿ~~~~
˛ ˛
# ˛ .
f
# ˛ . &
54
B
&
&
Π= 104
˛≤
.
˛
Œ
mf
Ó
Î
.
˛
Œ
.
# ˛ ˛ ˛˛
. .
.
˛
Ó
. >
j j
˛ ˛-
˛ ˛ ˛ ˛ ˛ ˛ ˛
.
˛
.
˛
.
˛
.
˛
. . . . .
# ˛ # ˛
˛ ˛ ˛ # ˛ ˛ ˛ ˛>
˛ ˛ ˛ ˛ # ˛ ˛ ˛ ˛ ˛ ˛ ˛
. cresc.
. .
˛
#˛
˛ ˛-
.
#˛
∑
.
#˛˛
-
.
˛
.
#˛˛
-
.
˛
56
B
&
&
. . . . > -
# ˛˛
j˛ ˛- ˛
j˛
˛ # ˛ ˛ # ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛
Î ˛ ˛ ˛ # ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛
∑
∑
. ^
j˛ ˛- ˛
j˛ n
˛ # ˛ ˛ # ˛ ˛ ˛ ˛ ˛ ## ˇ˛
˛ ˛ ˛ ˛ ˛ ˛ ˛
Î ˛ ˛ ˛ # ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛
ff
PE066 – 5

58
B
∑
∑
∑
molto rall.
&
&
>
˛˛
# ˛# ˛ ˛#
˛˛˛. ˛ ˛> ˛> ˛> ˛> ˛> ˛> ˛>
J
˛>
# ˛
# ˛
˛ ˛ ˛ ˛# ˛ # ˛ ˛˛
˛ ˛ n˛
˛
˛# ˛# ˛ ˛ ˛ ˛ ˛ ˛ ≈ ˛ ˛ ˛ ˛ ˛ a˛n˛
&
˛ ˛ ˛ # ˛ ˛˛
>
˛
j˛ ?
˛> # ˛ > ˛> ˛> ˛>
# ˛ ˛ ˛ ˛ ˛# ˛ ˛ # ˛ ˛ ˛ n˛
˛
˛# ˛# ˛ ˛ ˛ ˛ ˛ ˛ ≈ ˛ ˛ ˛ ˛ ˛ a˛n˛
61
&
&
?
Meno mosso Π= 69
˛-
˛-
# ˛ - n˛
-
˛ ˛ b˛# ˛
˛-
J˛ ˛
# ˛ n˛
4 3 ˛ 4 4 5 ˛ n˛#
˛ ˛ 4 3
mp
4 3 4 4 5 Ÿ~~~~~
‰ # [Cl.]
˛ ˛ b˛
˛ ˛ j ˛- # ˛
Î
ˇ . # ˛ n˛
˛
- n˛
-
È
˛ # ˛. n ˛. b ˛
˛
. ˛ # ˛ # ˛ n˛
n˛
4 3
p
˛-
˛-
# ˛
- ˛-
Î
4 3 n˛
ˇ
ˇ . 4 ˛-
# ˛
- ˛-
# ˛
-
Î
4 5 ˛ ˛ n˛
˛ ˛ n˛
-
˛
Î
˛
4 3
J˛
b˛
# n˛
# ˛ n˛
˛n˛
˛-
65
&
# ˛ - # ˛ - # ˛# ˛n˛n˛
mf
# ˛ # ˛ ˛# ˛# ˛‹ ˛#-˛
Sostenuto
˛-
B
poco rubato
# # ˛n ˛ .
˛. # ˛n˛# ˛
mp˛
. # ˛. ˛# ˛# ˛ . ‹ ˛ . # ˛# ˛n ˛ . ˛.
cresc.
4 3 4 5 4 4 3
& 4 3 4 5 . .
4 colla parte
Œ # ˛
4 3 - # ˛ - # ˛# ˛n˛n˛
# ˛ # ˛
Œ
# ˇ n˛ # ˇ˛ Œ
# ˛ # ˛ # ˛
?
4 3 ‰ ‹ ˛#
˛
4 5 4 4 3
‹ ˛ # ˛ . ‰ ‹ ˛# ˛
‹ ˛ # ˛ . ‰ ˛ ˛ ˛.
cresc.
. . n ˛ # ˛
. . ##
˛n ‹˛˛
. .
#> Î
68
B
# ˛ n˛
3
# ˛
# ˛ ˛ # ˛
3
&
# ˛ ‹≤ ˛ #≤ ˛
3
Sostenuto
≥j
˛
f
˛- ˛- # ˛# ˛ n˛
# ˛ ˛-
4 3 4 5 4 & 4 3 # #˛ ‹ ˛ n 4 5 . . j
4 - # ˛ # ˛ -
# ˛ ˛ ˛ j
## ˇ ˇ . ˛. ˛- ˛. # ˇ # ˛ # ˛ N ˛
# ˛ ˛ . . ˛. n˛
˛.
.
?
4 3 ˛ # ˇ
4 5 # # nˇ
a
# ˇ ˇ .
# ˇ ˛ ˛ ˛ # ˛ ˛ ˛ 4 .
PE066 – 6
J˛˘
‰
meno f
n˛
- ˛-
# ˛ ˛ n˛# ˛ ˛-
poco rit.
˛-
B

71
B
a tempo Π= 69
4
˛4
˛
˛ ˛
˛0 ˛
3
˛ ˛ ˛ #˛
˛ ˛ &
˛
3
˛
˛
˛
3
˛ # ˛
˛
˛ ˛
˛
3
˛ n˛
˛
˛b˛
˛ ˛ ˛
˛ ˛ ˛
˛n˛
˛ ˛ ˛
˛ ˛
3
3
3
3
&
4
? 4
mp
Î ‰ ˛-
# ˛ - n˛
-
J˛.
˛ ˛ ˛ ˛ ˛ # ˛
Î
# ˇ ˇ
Î
74
&
&
?
accelerando
˛
˛ ˛ ˛ ˛ ˛# ˛ ˛ ˛ ˛ ˛ ˛ # ˛ ˛ ˛ ˛
cresc.
∑
∑
˛ ˛ ˛
3
allargando
˛ # ˛ ˛ ˛ ˛ ˛ ˛
#˛ n˛
3 3 3
∑
∑
Sostenuto
##
#ˇ
f
ten.
Î
sff
∑
nˇ
Deciso Π= 108
Œ
n ˛ .
molto f
∑
# >
#
˛˛ ˛.
Œ & ˛. Œ ˛˛.
# > ˛
# ˛ ˛.
Œ
?
˛.
˛
∑
B
?
˛. # ˛ v
# ˛ . ff
#
#
˛˛ v
79
B
≥≤
#Î
sfz
Ÿ~~~~~~~
2
3
poco a poco rallentando
˛- # ˛ ˛ ˛ ˛ ˛
6
˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛
6
˛ ˛ ˛
3
˛ ˛ ˛
3
Tempo I Œ = ◊. 80-84
4
Œ
˛
mp
b˛
˛ n˛
˛ bˇ .
?
?
∑
∑
2
3
2
3
Ó
Œ
mf
n˛
n˛
bÎ
#˛
Œ
ˇ
4
4
Î
p dolce
ˇ
ˇ
Œ
b˛
Œ n˛
˛ # ˛
˛ b˛
83
B
?
˛ ˛ b˛
Î
˛ ˛
b ˛ ˇ .
Œ
b˛
˛ ˛
Œ
ˇ
˛≥
˛≤ .
N˛
b˛
N J˛
˛ b˛
˛ ˛ ˛
n˛.
-
˛ ˛ b˛
b˛
n J˛
b˛
nˇ
˛ ˛ n˛
3
˛ ˛ b˛
3
b˛
pochiss. rit.
˛ ˛ ˛
n˛ ˛
3
3
J˛ ‰ &
4
7
7
4
?
ˇ
ˇ
Œ b˛
n˛
b˛
Î
Î
Î
Î
7
4
PE066 – 7

88
B
Poco più mosso Œ = 92
4
7
poco a poco accelerando
˛ b˛n˛
n˛
˛ ˛ ˛ b˛
˛ b˛n˛
˛ ˛ ˛ ˛ b˛
˛ b˛n˛
˛ ˛ ˛ ˛ b˛
˛˛b˛b˛
˛ b˛
b˛
˛ ˛ ˛ ˛ ˛ ˛ ˛ n˛
b˛
˛ ˛ ˛ ˛ ˛ n˛
b˛
˛ ˛ ˛ ˛ ˛
n˛ ˛ ˛ ˛
cresc.
al
4
& 4
7
?
4
7
b˛
˛ ˛ ˛ A
ˇ
Ó b˛
˛ ˛ n˛
mp
∑
˛ b˛
b˛
˛ ˛
b˛
˛ ˛ n
b˛
b
ˇ
ˇ b˛
˛ ˛ n˛
˛ b˛
b˛
˛ ˛ ˇ b˛
˛ ˛
4
4
? 7
4
p
3
3
b
b˛
Î ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛
ˇ . ˛ ˛
3
3
3
3
˛ ˛ ˛
3
˛ ˛ ˛
3
3
b ˛Î
b˛
˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ˇ
. ˛ ˛
3
3
3
3
˛ ˛ ˛
3
˛ ˛ ˛
4
90
B
4
&
4
? 4
Π= 112
b
J˛
‰ Œ Ó
f
˛- ˛- b˛
-
{ f }
Ó
˛-
˛ n˛
˛-
∑
˛ ˛ ˛ b -
˛ b˛
˛
- -
b -
n˛
˛ ˛ n˛
˛ ˛ b˛
- ˛ n˛
- -
˛ n˛
˛-
b˛
b˛
n˛
-
b˛
b
˛
˛ ˛ ˛ n˛
˛ ˛ n ˛ b ˛ b˛
-
∑
˛
˛
˛-
b˛
n˛
b
˛ ˛ n ˛
# ˛
˛
∑
.
˛ b˛
˛ˇ
b˛
˘
˛ n
˛ n
˘
˛
˛
cresc. molto
ˇ
&
94
B
&
&
Ÿ~~~~~
ˇ ^ .
{
ff
ˇ
^
.
Ÿ~~~~~
{
b .>
J˛ ‰
p sub.
Î
Tempo I Œ = ◊. 80-84
∑ Œ
≤
b p˛ ˛ b˛
n˛
b˘
J˛
‰
bÎ
b˛
˛
˛
ˇ
n b ˛
b˛
˛ b˛ b
n˛
b˛
b
b
˛˛
n˛
b˛
Î n˛ bˇ.
˛
n˛
˛ n˛
nˇ
n˛
b˛
˛
˛
˛
bˇ
-
n b˛˛
b˛
b˛
b˛
n˛
n˛
˛ n˛
&
99
&
&
Π= 92
˛
Î
bÎ
b ˛ b˛
.
J˛.≤
b˛
˛ ˛ ˛.
b ˛ . n˛
poco scherzando
Ó
bˇ
˛ ˛b ˛ . b ˛.
b˛
ˇ.
b˛
rit.
b˛
˛. b ˛
b˛
- ˛ . ˛- n˛
-
b˛
Tranquillo Œ = ◊.88
4 5 4 5 4 5
#˛
alla punta
˛ ˛ # ˛ ˛ ˛ # ˛
˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛
p
n˛
# ˛ ˛
n ˇ ˇ.
˛ # ˛ # ˛
&
Î
Ó
b˛ b
bb ˛
n n Î
mp cantabile
##ˇ
#ˇ.
?
PE066 – 8

103
&
˛ # ˛ # ˛
˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛
˛ # ˛
# ˛
˛ ˛ ˛ ˛ ˛ ˛ # ˛
˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛
4
7
&
˛ # ˛ #ˇ
ˇ ˇ .
˛
#ˇ
# ˛ ˛ ˛ # ˛ # ˛
4
7
?
##ˇ˛
#ˇ .
# ˛ ˛ ˛ # ˛ # ˛
[Vcl.]
Ó #ˇ.
˛ # ˛ # ˇ.
4
7
105
&
4
7
& 4
7
˛
˛ # ˛ # ˛ J˛
‰ ˛ # ˛ ˛ ˛
#˛ ˛ # ˛
#˛
#˛ n˛#
˛
# ˛ ˛ # ˇ
˛ ˛ ˛ ˛ n˛
# ˛
# ˇ
# ˛ # ˛
#ˇˇ # .
˛ ˛ ˛
# ˛
2
3
2
3
#˛
#˛
#˛ ˛ ˛ ˛ ˛ ˛ # ˛
n˛#
˛ n˛#
˛
cresc. poco a poco
˛ ˛ ˛ ˛ ˛ ˛ n˛
# ˛ # ˛ ˛ # ˛ ˛ ##
ˇˇ
# ˇ
# ˇ
# B
˛ ˛ ˛
# ˛
4 5 4 5 4 5
? 7
4
#ˇ ˛
‹ ˛
# ˛
# ˛
[D.B.]
# ˛
# ˛
# ˛
# ˛
# ˛
# ˛
˛
˛
# ˛
# ˛
3
2
# ˛
# ˛
# ˛
# ˛
# ˇ
# ˇ
# ˛
˛
˛˛
107
B
#˛
#˛
#˛
cresc. molto
˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛
# ˛
˛
4 5 4 # ˛
& 4 5 # ˛ ˛
##ˇ # ˇˇ ˇ ˛ # ˛ #
˛ # # ˛
ˇ .
#˛ # # ˛ ˛ # ˛ ˛ # ˛ ˛ 4 ?
4 5 f
# ˛ ˛ # ˛
Œ Œ 4 # ˛
# ˛
˛
˛ # ˛ # ˇ
# ˛ # ˛ ˛ # ˛ # ˇ.
3
˛
> ˛ # ˛
[accelerando]
# ˛
Œ Ó Œ
-
f
˛-
∑
# ˛. ˛.
p sub., cresc.
# ˛ -
˛.
˛-
# ˛ -
# ˛ ˛- .
‹ ˛ -
110
B
&
?
Sostenuto subito
∑
∑
# ˛ . # ˛.
‹ ˛
˛ ˛
#
#
˛˛
. .
‹ ˛ # ˇ
>
- #ˇ ‹ ˛
# # ˇ . ‹ ˛
- Î
f
# ˛- .
˛ ˛ ˇ-
‹ ˛.
# ˛ . ‹ ˇ -
# ˛ .
˛
a tempo Œ = ◊.100
b> ˛
≥ b > ˛ b > ˛ .
f marcato
Ó
Ó
PE066 – 9
Œ
Œ
j ˛.
b b˛˛
.
mf
b ˛ .
b˛
b˛
˛ b˛
b˛
˛ b˛
b˛
&
˛ b˛
b˛
b˛
b˛
˛ b˛
.
3
3
3
b˛ b ˛ . ˛.
b ˛
b b ˛ . b ˛ . b ˛ . b ˛ . b ˛ . n ˛ .
b
.˛ . Œ Œ n ˛ . b ˛ . b ˛ .
3
˛

114 ˇ
&
n ˛ # ˛ # ˛ # ˛ ˛ # ˛ # ˛
# ˛ ˛ ˛ a˛
# ˛ ˛ # ˛ ˛ # ˛
# ˛ ˛ # ˛ ˛
& Œ # ˛
- # - -
. .
#
# ˛ ˛# ˛ ˛ ˛ # ˛ ˛
˛-
# ˛ ˛
˛ # ˛ # ˛
˛ # ˛
# ˛
# ˛ # ˛ # ˛ # ˛
mp
. . . . - -
j
? b .
# ˛ # ˛ ˛ ˛. # ˛
# ˛
. # ˛ # ˛
# ˛# ˛ ˛ #˛
# ˛ ˛. # ˛ . # ˛ n˛
˛ ˛
-
. .
B
n > ˛
marcato
Ó
Ó
b > ˛ b> ˛ .
Œ
b
b
˛.
mf
Œ
b ˛ .
b J˛ .
117
B
&
?
b˛
b˛
b˛
˛
b˛
˛ ˛ b˛
˛
b˛
˛ ˛
Œ Ó
b˛
. 3.
.
b˛ b˛ b ˛ . b ˛ . b ˛ . n ˛ . n ˛ . ˛.
b ˛
3
3
&
˛ ˛ ˛ ˛
3
˛. # ˛# ˛ . .
nˇ
# ˛ # ˛ ˛ ˛.
Œ
mp
.
˛# ˛ ˛
˛ # ˛#
˛# ˛ ˛ # ˛
.
# # ˛
# ˛
˛ ˛
. . -
3
.
#˛
‹ ˇ -
# ˛ - # ˛ # ˛#
˛
# ˛# ˛ ˛#
˛# ˛ ˛ # ˛
# ˛ # ˛ ˛ ˛.
˛-
# ˛
.
-
‹˛
˛
3
˛.
&
-
#˛
# ˛# ˛ ˛
.
# ˛ ˛# ˛# ˛# ˛
- . ˛.-
# ˛ # ˛ ˛ ˛ # ˛ ˛
˛
#˛˛ ˛ ˛
. 3
120
&
# ˛ ˛ # ˛ ˛ ˛ # ˛ ˛ N˛
˛ ˛
quasi pastorale
˛
# ˛ n˛
˛ ˛ ˛
˛ ˛ # ˛ ˛
˛
# ˛ n˛
˛ ˛ ˛ ˛ ˛ ˛ ˛
3
2
&
&
# ˇ # # ˛ # ˛ ˛ ‹ ˛ # ˛
# ˛ # ˛ nˇ
?
n˛
˛ ˛ # ˛ # ˛
nnˇ˛
# ˛ n
˛
˛
?
Î ˇ.
#Î
# ˛
2
3
2
3
123
&
2
3
?
2
3
? 3
2
˛≤
˛ ˛ # ˛ # ˛ ˛
ǫ
˛0
# ˛ ˛ ˛
˛
˛ ˛ ˛ ˛.
β ˛ ˛ ˛ # ˛ Ó &
ˇ ˇ Œ
˛
˛x
4
4
4
˛-
mp
Î ˇ ..
Œ
˛ # ˛ ˛ ˛.
Ó
˛. ˛.
˛.
# ˛ ˛ ˛
∑
# n
˛ ˛
J˛
˛ # ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛.
# ˛ ##˛ˇ
.
˛-
j
#˛
PE066 – 10

126
&
∑
poco rall.
B
a tempo Π= 92
˛ ˛ ˛ ˛ ˛ ˛ ˛ b-˛
˛ ˛ ˛ b˛
poco f
˛- b˛
rubato
b˛
˛.
b˛
-
˛. ˛ # ˛ ˛ n˛
ǫ
b˛
&
( ǫ )
colla parte (sempre)
J Ê , # mp
˛ - ˛ ˛ ˛ ˛ ˛ ˛- ˛- ˛- # ˛ ˛ ˛- -
# ˛ ˛ -
4 3 4 3 4 3
&
?
˛- ˛
˛˛
n˛
n˛
˛.
˛
˛. -
˛
˛˛ # ˛˛ ˛˛ #
˛˛
˛˛˛˛
-
p
˛
# ˇ
n˛
#
˛ ˇ˛
n˛
# ˛
˛˛
Ó
Ó
?b n > J˛ ‰Œ
mf
j‰Œ
b n˛ >
∑
∑
∑
∑
&
130
&
#˛
0
ǫ
˛
ǫ
( ǫ )
J Ê ‰
Œ
B
# !
#
˛ ˛! n ˛
! !
˛! ˛˛ ˛!
f ruvido
j ˛>≥
#
˛ ˛.≤ ≥
j
˛. 3
˛v
4 3 4 2 4 4 3
& 4 3 j
Œ Œ
‰
b
∑ 4 2 ∑ 4 ∑ 4 3 ˛
ff v
?
4 3 j
Œ Œ b˛
‰ ∑
b˛
4 2 Œ ‰ 4 ‰ Œ Ó
b˛
4 3
v v
˛v
ff
‰ &
‰
˛ b
# ˛ -
˛˛ ˛ ˛ - #-
˛˛ ˛# n˛˛
˛˛- - ˛ ˛ ˛ ˛˛-
˛˛mp
134
&
j
b˛
≥
˛
˛0
˛0
ǫ
( ǫ )
Ê
Œ
B
# !
n
#
˛ # ˛
! ! j , ≤
˛! ˛! ˛˛ ˛! &
# ˛
#˛
> p
f ruvido
sul D
3
˛ ˛
≥
˛
˛0 ˛
˛0
# ˛
˛0
#˛
˛0≤ ˛ ˛0
˛
˛0
&
∑
∑
∑
4 3 4 4 3
4 3 4 4 3
?
4 3 Œ Œ 4 ∑
b˛
4 3
v
˛v
ff
∑
137
&
0
n
# ˛ ˛
0
# ˛ ˛
n
˛
˛0
≥
˛0
#˛
# ˛0
˛
n˛
˛0
#
# ˛ ˛ ˛˛
# n˛
#
˛
≥
˛ ˛
˛ # ˛
˛ n ˛
˛
n˛
˛ ˛˛ ˛
˛ ˛
n˛
˛ # ˛ ˛ ˛˛
˛˛
4
simile
&
∑
∑
∑
4
?
∑
∑
∑
4
PE066 – 11

140
&
4
# ˛# ˛ ˛ ˛ # ˛
#˛
˛ ˛
# ˛
˛ ˛ ˛# ˛ ˛ # ˛ # ˛
# ˛n˛
#˛
0
˛
più f
0
˛ ˛
0
# ˛ ˛
#˛
0
˛
# ˛# ˛ ˛ ˛
# ˛ - # ˛
meno f
#
ten.
0
n
0
poco rall.
# ˛ ˛b˛
˛# ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛# ˛ ˛ ˛ ˛
&
4
∑
∑
∑
?
4
∑
∑
∑
143
&
a tempo Π= 100
0
n
0
# # ˛# ˛ ˛# ˛˛# ˛˛ ˛ ˛ ˛n˛˛˛# ˛˛
mp˛
# ˛# ˛# ˛n˛# ˛˛# ˛˛n˛˛˛n˛
0
ten.
# ˛ -˛ ˛
# ˛
2
3
ǫ ǫ
# ˛# ˛n˛
0
˛0
tornando
al
˛# ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛
4
&
?
Ó
Ó
#ˇ
p
# # ˇ
Î
Î
2
3
3
2
#Î .
#
Î .
4
4
146
&
Tempo I Œ = ◊. 92-96
4
˛0
n˛
p
˛
&
4
˛
mp
Î
?
4
bÎ
˛
˛0
˛
˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛
˛
˛
b˛
b˛
˛ ˛
˛ ˛
˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛
bÎ
bÎ
Î
Î
b˛
b˛
˛ ˛˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛
Î
Î
n˛
˛ b˛
˛
n˛
˛ b˛
˛
˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛
Î
Î
Î
Î
dim.
150
&
˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˇ
˛ Œ Ó
∑
∑
&
˛
˛
? bnˇ
Î
b˛
b˛
p espressivo
b˛
b˛
bˇ
b˛
b˛
b˛
b˛
b˛
˛ ˛ b˛
b˛
˛ ˛ b˛
ˇ
bbˇˇ
˛ n˛
˛ n˛
b˛
b˛
b
bˇ
b˛
b˛
b˛
˛ ˛ b˛
b˛
˛ ˛ b˛
˛˛ b
˛˛ n
˛
˛
b˛
dolce
b Ρ
.
˛
Œ
˛
b˛
Ó
b˛
b˛
b˛
PE066 – 12

154
&
&
?
b˛
ˇ .
b˛
b˛
∑
bˇ
˛ ˛ ˛
n˛
b˛
3
∑
b˛
˛ ˛b˛
˛ˇ
b˛
b˛
∫
˛ b
˛
˛
poco accel.
∑
b˛
- n˛
b˛
nb
ˇ˛
ˇ
n˛˛
˛ ˛ ˛ b -˛
˛.
˛
Π= 100
∑
marcato
b > -
b˛
˛
˛ ˛ b˛
b˛
b˛
bÎ
˛ ˛ ˛b˛
mf cresc.
b˛
˛ ˛n˛b˛
˛ ˛ b˛
˛ ˛ ˛ ˛
158
&
&
?
-
b˛
b˛
b˛.
bˇ.
.
˛
˛ ˛ ˛ ˛ b˛
∑
. . .
˛
n
˛ ˛ # ˛ ˛ bn
˛
j
˛ ˛
˛
> ‰
ff j
n
˛ ‰
J˛
B
f˛
b˛
b˛
n˛
˛ b˛
b˛
n˛
b
˛˛
∑
∑
b
˛
b
˛
n
˛
b
b ˛
n
n
˛ n
#
˛
n ˛ &
160
&
&
?
#
#
˛
Ó
Ó
˛
˛˛ ˛˛ #
#
˛
˛
n˛
˛ b ˛˛ n
#
˛
Œ
Œ
˛
n˛
˛
#˛
#
‹ ˛
ten.
# ˛
-≥
ten.
# ˛ -
f
˛-
˛
Risoluto Œ = ◊. 88
˛
≤o
˛
˛
J
>
˛
J
j
˛
˛
>
B
≥
j
˛
>
f
p
‰
‰
&
3
˛ # ˛ # ˛
˛.
˛
˛
mp
3
3
˛ n˛
n˛
3
# # ˛
# ˛ ˛
.
˛- ˛˛
˛
# ˛ ˛
3
3
˛ n˛
˛-
˛
n˛
˛ ˛
n˛
3
# # ˛ # ˛ n˛
# ˛ ˛
˛.
˛
3
# ˛.
# ˛
# ˛ # ˛ ‹ ˛
3
n˛
162
B
&
&
> ≥ ≤
3
˛ ˛ # ˛
b˛
n˛
f
‰
# ˛
##
> #
˛ p ˛
J
f
j
?
# j
˛ . ##
# ˛
>
&
3
3
# ˛ # ˛ # ˛ # ˛ n˛
n˛
b˛
n˛
˛ b˛
b˛
b˛
# ˛
.
# ˛ ‹ ˛ ˛
mp
˛
˛
# ˛
˛. -
˛˛-
3
3
3
3
n˛
n˛
˛ ˛ # ˛
n˛
n˛
3
3
˛ b˛
3
b˛
˛ n˛
# ˛
?
n˛
n ˛ .
b˛
PE066 – 13
≥
> ≤
3
˛ b˛
˛
˛
f
J˛.
b˛
b ˛ .
√
>
˛
J
f
˛˛>
˛ ˛ ˛
˛
p
Œ
3
b ˛ .
˛b˛
3
3
3
˛ ˛ ˛b˛
b˛
b˛
˛ # ˛˛
n˛n˛
b˛
b˛n˛
n˛
Ó
b ˛ .
˛ n ˛ .
3
3

164
B
&
?
n
˛ n˛
3
˛
≤
˛
>≥
3
3
3
˛ ˛ ˛
# ˛ ˛ b˛
# ˛
b˛
˛ ˛ # ˛ ˛
J˛
3
˛ ˛≥ n˛
≤ 3
b˛
˛. ˛. b ˛ . ˛.
˛. ˛. b ˛ . ˛.
# J˛ . ‰
# mf
J˛ .
j
& # ˛
# ˛ .
˛˛-
≤
˛
˛. n .
˛ n
˛˛
3
b >≥ ≤
˛ ˛# ˛ ˛
˛
b˛
-
b˛
-
3
# ˛ˇ˛ b˛
3
˛ ˛ ˛
# ˛ . ˛. ˛. b˛
-
# ˛.
˛. ˛. ˛ b -
3
˛ ˛ ˛
3
˛ ˛ ≤
3
˛
≥
# ˛ ˛ b˛
>
# ˛.
?
˛˛ # ˛.
cresc.
≤
˛
cresc.
˛. n .
˛ n
˛˛
&
166
6
B
b˛
&
& b˛
6
6
b ˛ˇ
˛# ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ 6
&
˛b˛
n˛n˛
# ˛ ˛n˛
˛# ˛ ˛# ˛#
˛
˛
˛.
˛. ˛
˛ ˛.
˛.
˛
˛
˛. ˛. ˛ ˛. ˛.
Più risoluto Œ = ◊. 74
4 5 4 5 4 5
˛. #> ˛
≥ ˛ ˛ ˛# ˛# ˛#
˛n˛
6
f
Œ
˛. #> ˛
n˛
3
n˛
˛.
>
˛.
# ˛# ˛˛- n˛n˛b˛
˛# ˛n˛˛# ˛#
˛n˛n˛n˛# ˛ . >
˛ .
3 3
3
f
Ó ˛. #> ˛ ˛ ˛. ˛. n ˛ .
˛. ˛>
B
# ˛#
˛
168
˛.
B
> ≥ 6
3
˛ ˛n˛# ˛ ˛ n˛b˛n˛
# ˛ # ˛ ˛.
˛- .
n˛
n˛b˛b˛b˛
˛
˛. n> ≥ ˛ ˛ ˛ b˛
˛ n˛
# ˛ n˛
b˛
6
b˛
b˛
4 3 4 3 4 3
&
&
˛n˛
n˛
b˛
˛.
3 3
n˛
˛ ˛n˛
˛ j
? j
˛# ˛ ˛ . >
3 .
˛# ˛ ˛ ˛ j
3
˛> ˛ # ˛ . ˛. ˛.
3
˛b˛n˛# ˛n˛b˛n˛# ˛# ˛ ˛.
3
n> ˛
˛.
˛>.
n˛
n˛
b˛
˛ ˛# ˛ ˛ ˛ ˛.
b˛
3
b˛
b˛
3
˛
n˛
˛.
˛n˛
3
n˛n ˛ .
˛Ÿ>
n> b˛
˛ n˛
b˛
170
B
˛ ˛
b˛
poco accel.
b- ˛
> b˛
˛ ˛ ˛
˛ ˛
più accelerando
4
∑
molto rit.
,
Tempo giusto Π= 96
n˛
- n˛
n˛
˛ ˛ # ˛ ˛ ˛
#˛
&
?
˛.
˛ ˛ b˛
˛-
3
˛. ˛Ÿ> ˛ ˛ ˛ b ˛ ˛
˛ ˛b˛
˛
4
4
b˛b˛
˛ ˛
mf
b˛b˛
˛ ˛
&
b˛
b˛
√
b˛
˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ b > ˛
>
˛
,
ff
b˛
˛ ˛ ˛ ˛ ˛ b ˛
> ˛>
˛ ˛ ˛
f sonore
Œ n˛
mf
.
Œ ? nnˇ.
˛ # ˛ ˛ ˛ ˛
PE066 – 14

173 ˛
B
# ˛ ˛# ˛ ˛ ˛> n > ˛ ˛> ˛> ˛ ˛>
&
?
# ˛ .
nˇ
-
ˇ
.
accelerando al
Ÿ~~~
˛ ˛
# ˛ .
f
. ˛˛
Π= 104-108
˛-
f
.
˛ˇ
Œ
.
˛
&
Œ
Ó
. . .
˛ ˛ ˛ ˛ j
˛
.
˛.
˛.
˛ ˛ ˛.
> -j
˛ ˛ ˛ ˛ ˛
.
.
˛. ˛
˛
.
.
˛
˛˛
.
∑
.
- j
j . j
˛ ˛ ˛ ˛ ˛ ˛-
˛ ˛ ˛ ˛ # ˛ ˛ ˛ ˛ ˛ ˛ ˛
˛. ˛.
# ˛. # ˛ . ˛. ˛.
˛. ˛.
176
B
∑
∑
∑
&
&
˛ ˛ ˛
˛ ˛ ˛ ˛
˛ ˛ ˛ ˛
˛ ˛ ˛ ˛ ˛
J˛
J˛
. - - - -
˛ ˛ ˛ ˛ ˛ ˛ ˛
# ˛#
˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛
˛
- - ˛- -
?
˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛
J˛ ˛-
ˇ
J˛
.
ff
˛^
^ # ^ ˛
˛
˛˛ #
˛˛ ˛ ˛#
˛ ˛
&
˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛^ ˛ #> ˛ ˛> ˛> n >
#ˇ
˛ ˛>
J
˛
˛
#˛J˛ ˛# ˛ ˛ ˛
‰
# ˛
˛^ > ˛> ˛> n > ˛ ˛>
J
179
B
&
&
˛ # ˛ ˛ ˛ ˛ ˛ ˛ ˛
≈
∑
˛ ˛ # ˛ ˛ ˛ ˛ ˛
f
˛ # ˛ ˛ ˛ ˛ ˛ ˛ ˛ ≈
˛ ˛# ˛ ˛ ˛ ˛ ˛
Subito meno mosso
Π= 70 rall. al
∑ &
Œ
Œ
˛. # ˛ . ˛a ˛ ˛- . b ˛ .
mp
?
˛. # ˛ . ˛ a ˛ ˛- . b ˛ .
Molto meno mosso Π= 54
˛- .
p
pp Î Î
Î
˛
˛ .
# ˛n˛
- .
˛
. ˛
# ˛
n˛
# ˛ ˛ ˛ ˛ .
ˇ .
Î
Î
# ˛# ˛ ˇˇ
˛
mp
&
183
&
&
&
ÎÎ
Π.
˛.
# ˛ # ˛ ˛ n˛
# ˛ # ˛ ˛-
˛
n˛
ˇ
Î
?
˛.
p
b˛
˛ .
b˛ .
˛
# pp # ˇ
# ˇ
Î
ˇ
#˛
˛.
˛-
#˛
˛ # ˛
n ˛ ˛.
Ó
n˛ #ˇ .
. .
b˛
˛ ˛
##ˇ
ˇ
.
# ˛# ˛ ˇ
Œ
mp
˛
PE066 – 15

186
&
&
?
Î
˛-
˛.
# ˛ # ˛
˛
. # ˛ # ˛
˛
n˛
n˛
ˇ
Î
Î
?
Poco più mosso
Π= 69
˛- # ˛ - n˛
˛ # ˛ ˛
b˛
n˛
# ˛ # ˛ n˛
Sostenuto
˛ # ˛ - n˛
-
4 3 4 5 B 4 3
mp
4 3 # ˛
- . .
˛-
b˛ n˛
‰ ˛ ˛ #˛n
˛ # ˛
4 5 . . . .
& ‰ . -
4 3 . . . . . ˛ #˛ n˛ #˛ n˛ ˛ ˛ # # ˛
# ˇ .
˛ n ˛ # ˛ ˛
. . # ˛
4 3 nˇ
n ˛ 4 5 ˛ˇ
# ˛ ˛ #˛
4 3
. ˛. nˇ .
#
# ˇ
poco rubato
B 4 3 ˛ # ˛ n ˛ . ˛. # ˛ n˛
˛. # ˛ . ˛ ˛ # ˛ . poco rit.
# ˛.
& ˛- # ˛ n˛
˛ # ˛ n˛
- Π= 60
˛- b˛
n˛
4 5 ˛-
3
3
3
p cresc.
f
& 4 3 J˛ ‰ Œ Œ Œ ‰ j 4 5 ˇ . ˛.
˛. # ˛ . nˇ
˛
?
4 3 Œ # ˛
4 5
- # ˛ - ˛. ˛. # ˛ . n ˛ . # ˛ . n ˛ . Î
189
# ˛ - ˛-
espressivo
˛
n˛
-
˛ ˛ # ˛# ˛ ˛ n˛
b˛
˛ # ˛ n˛
# n ˇ ˛
Œ
˛
?
192
&
?
?
n- ˛ ˛-
˛-
mf
b˛
- ˛ ˛ ˛b˛# ˛ ˛ b˛
nˇ
b
˛ ˛
˛ˇ # ˛ n˛
n
˛
Ó ˛ # ˛ Œ
Î
˛ B
Π= 56
b˛
b - ˛˛ b -
. b˛
˛ b˛
n˛b˛
b˛
˛ ˛b˛
b˛
˛
b˛
b˛ n˛
≤
b˛
X ˛. ˛.
b ˛ . n ˛ . b˛
Ç b˛b˛
n˛
n˛
4 3 4 5
mp ˛ . ˛
&
p 3
3
3
3
3
4 3 b˛
- dim. molto
˛- b˛
- ˛- b˛
- b˛
- ˛- b˛
- ˛- b˛
- ˛. b ˛ .
4 5
p dim.
4 3 b˛
- - -
˛ b˛ ˛-
b˛
-
bˇ .
b˛
- pp
- - -
ˇ . ˛-
b˛ ˛ˇ.
b˛ ˛.
b ˛
. 4 5
196
&
?
Π= 60
b J˛
‰ Œ Ó Œ
pp
b˛.
- ˛˛ b˛
- . b˛
˛
# ˛ - . # ˛# ˛n˛
- . # ˛ # ˛ ˛ ˛ ˛ ˛
4 5 2 3
4 5 2 3
?
4 5 p
b˛
ˇ # ˛ # ˛ 2 3
.
˛.
n˛ - . ˛˛ b˛
- .
˛ ˛
&
∑
b˛˛b˛
˛ ˛ ˛ ˛ ˛ ˛ ˛
b˛ -
. b˛
˛ b˛
- .
n˛
ˇ b˛
˛ b ˛ b˛
n ˛.
PE066 – 16

198
&
∑
4
∑
rall.
∑
&
n˛ -
.
? nˇ
˛ # ˛ ˛- .
3 3
3
˛#
˛b˛
-
b˛n ˛ .
b ˛b ˛ . .
b ˛ . ˛.
n ˛n ˛ . .
b ˛ . n ˛. n ˛ .
3
dim.
n˛
- ˛ ˛. b ˛ . ˛.
n ˛.
b ˛. b ˛ . 3
b ˛.
b ˛ . n ˛ . b ˛ .
3
3
3
4
4
n ˛. n ˛ . # ˛.
˛. ˛. # ˛ . b ˛ . b ˛ . n ˛ . b ˛ . b ˛ . b ˛ .
3
3
3
3
perdendosi poco a poco
3
3 ˛ ˛. ˛. b ˛ . ˛. # ˛ . n ˛ .
˛ n .
b˛
n ˛ .
b
n˛
ppp
#ÎÎ
b
n
b ˛ bn
˛ nb
˛
201
&
&
?
Vivo Π= 104
∑
b˛
n .
b>
˛ n
˛˛ ˛.
b˛.
‰ ˛ b˛
J
f sub. b˛
n .
b>
˛ n
˛˛
Œ ‰
b˛
n .
b>
˛ n
˛˛
˛.
˛
b˛.
b˛
J
n˛.
j
b˛
n˛
b ˛ .
b˛
n .
b>
˛ n
˛˛
?
∑
b- ˛ # n ˛
. b ˛˛
˛
n b n- b ˛˛
b- n˛˛
¨
& n˛ n b
.
ff
˛-
b˛ b .
#
n˛
- b ˛˛ .
n˛˛
-
# b
b˛
Ë
‰
‰
B
,
Sostenuto Π= 70
, ˛ ˛ .
˛
f aperto
Î
p
Î
Î
Î
J˛
˛ ˛ ˛ ˛ ˛ ˛ .
Î ?
Î
Î
Î
J˛
3
2
2
3
3
2
205 b˛
B
3
2
˛ ˛ ˛ ˛ b˛
-
b˛
˛ ˛ ˛ b˛
4
Î
∑
∑
&
?
2
3
?
2
3
bˇ.
mf
ˇ
bˇ
b˛
Ó &
Œ
n ˛˛ .
4
4
˛
˛-
mf
˛
˛-
˛- n˛-
.
˛ n˛
˛- n- ˛ .
˛
˛
J
J˛
˛
˛ ˛ - - ˛- ˛˛
˛˛
b˛
.
b˛
.
f
˛ ˛ ˛- ˛- ˛-
bbˇˇ
b ˇ
˛
˛ ˛˛
b˛
b˛
.
bb
b˛
dolce
˛
˛ b
b
˛˛ ˛.
˛.
n
Πn n
ˇ
b˛
˛
b˛
˛
209
&
&
?
˛
˛ #˛ .
mf lontano
p˛ Œ Ó
Î b Î b
J˛
˛ ˛ # ˛ ˛ ˛ ˛
ˇ
Î
.
∑
n˛
˛
p
Œ
Ó
˛ ˛ ˛ ˛ ˛
ˇ Î..
j
˛
∑
˛ ˛ ˛ ˛ ˛ n
n
˛˛
˛ ˛ b˛b˛
Î
˛ # ˛
Œ
˛ . #˛
mp
˛ Œ Ó
ˇ .
nÎ
J˛
espressivo
˛
˛ Œ Ó B
Œ
#˛ . ˛ ˛ ˛
J˛ Ó
˛ Œ Ó
PE066 – 17

215
B
˛
p
# ˛ ˛ Œ
Œ
≥
˛
# ˛ ˛ &
liberamente
˛≤ # ˛ ˛ ˛ ˛ ˛ # ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ # ˛ ˛
f sub.
accelerando
˛ # ˛ ˛ ˛ ˛ ˛ # ˛ ˛
B
˛ ˛ # ˛ ˛ ˛ ˛ ˛ # ˛
&
Ó
Œ
˛
˛ ˛
Ó
∑
∑
?
∑
∑
∑
∑
219
B
Tempo I Π= 80
j ‰ Œ Ó
b ˛ >
∑
∑
Ó
b˛ .
fp
˛ b˛
Œ
poco rall.
b˛
˛ b˛
Î
morendo
ˇ
Ó
&
?
b b # Î
p
Œ
b
b
˛˛ .
b
b
˛˛ .
b
b
˛˛ .
n
ˇˇ
Πb
b
˛˛ .
Ó
˛˛.
n˛
n ˛ .
Î Î b b # Î
Πb
b
˛˛ .
b
b
˛˛ .
b
b
˛˛ .
Ó
pp
˛
˛.
nˇ
fp
Œ Ó
ˇ
∑
Ó
Î
pp
Î
Î
Î
?
226
B
?
?
Ritornello Œ = ◊. 88-92
# Î>
f
Œ
Œ
espressivo
mf
( ≤ )
# #
n > ˇ ˛
marcato
#
#
ˇˇ
˛˛
>
˛
# #
n > ˇ
‹ ˛ # ˛ # ˛ # ˛
Ó
#
Ó
# ˇ >
n˛
Ó
‹ ˛ # ˛ # ˇ ≥
Œ
# > ˛
#
# ˛
( )
> ˛ ˛ #
n
˛
simile
n # #
Ó Œ # ˛˛
≤
ˇ ˛ N˛
# ˇ>
ˇ
>
# ˛ ˛
230 #ˇ.
B
?
?
Ó
Ó
n -
# # ˛
# ˛ ‹ ˛ ˛
Œ
# Œ
#
˛˛ -
3
‹ ˛ # ˛ nˇ
∑
∑
. ˇ
Ó
Ó
3
3
# ˛ ˛ # ˛ ‹ ˛ # ˛ # ˛ # ˛ nˇ
-
ˇ ∑
#
#
∑
ˇˇ -
n # #
liberamente
3
3
˛ # ˛ # ˛ # ˛ ‹ ˛ # ˛
n˛
# ˛ ˛ # ˛ # ˛ ‹ ˛ ˛ # ˛
mp pp
∑
∑
&
PE066 – 18

235
&
?
˛# ˛ ˛ n˛
6
cresc. molto
˛#
˛
˛ # ˛ ˛ ˛
∑
‹ ˛#
˛ #ˇ
6
f
Î
# ‹ #
#Î Î
˛ # ˛ ˛ n˛
# ˛ # ˛ n˛
# ˛# ˛˛˛ # ˛# ˛˛
B
,
# ˛# ˛˛˛ # ˛ # ˛˛
&
,
# > ˇ
˛ # ˛ # ˛ # ˛ n˛
# ˛ # ˛ # ˛ n˛
∑
9
?
∑
sffp colla parte
# Î
# Î
∑
238
&
# > ˛ n˛
# ˛ # ˛ # ˛ n˛
# ˛ # ˛ # ˛ n˛
# ˛
n˛ # ˛ # ˛ # ˛ n˛# ˛ n˛
# ˛
>
# ˛ # ˛ n˛
11
11
B
11
# > ˛ n˛
# ˛ # ˛ # ˛ n˛
# ˛ # ˛ # ˛ n˛
# ˛
˛
> # ˛ # ˛ # ˛ n˛
# ˛ n˛
# ˛ # ˛ # ˛ n˛
11
239
6
B
6
6
6
6
6
6 ≤
# ˛ n˛# ˛
>
# ˛ # ˛ n˛# ˛ n˛
˛ >
˛ # ˛ n˛# ˛ n˛
˛ >
˛# ˛ n˛
# ˛ n˛
˛ >
˛# ˛ n˛
# ˛ n˛
˛ >
˛# ˛ n˛
# ˛ n˛
˛ >
˛# ˛ n˛
# ˛ n˛
˛ >
˛ # ˛ n˛
# ˛ v
≥
# ˛ v
U ≥
Î
sfz morendo
attacca
II
&
Lento Œ = ◊.48-56
4
Œ
˛
p
˛
˛
˛
# ˛ ˛ ˛ ˛ # ˛ ˛
ˇ
ˇ
B
Œ
˛
˛
# ˛
˛
# ˛ ˛ # ˛ ˛ ˛ ˛
?
4
? 4
#Î
pp
Î
Î
# Î ˇ # ˇ
Î
Î
#Î
Î
Î
&
&
#Î
p
Î
#
# Î
Î
Î
6
B
ˇ
ˇ
Î -
˛
&
˛
˛
˛
˛>
# ˛ ˛ ˛
agitato
3
˛ ˛ # ˛
3
# - ( ≥ )
nˇ
Ÿ~~~~~~~~~~~~~~~~~~~
ˇ.
˛
˛ # ˛ # ˛
calmandosi
˛ ˛ ˛ ˛ ˛
5
# Î B
&
ÎÎ
∑
∑
∑
∑
∑ ?
&
Î
∑
∑
∑
∑
∑ ?
PE066 – 19

12
B
a tempo Œ = ◊. 54-60
Œ
# # ˛ # ˛
mp˛
˛
# ˛ ˛ # ˛ ˛ # ˛
# ˇ ˛ ˛ # ˛ # ˛
ˇ
mf
# ˇ
ˇ
˛ # ˛ ˛ # ˛
? ## # ÎÎ
?
mp
#
#
Î
#Î
Î
n # Î
Î
# # Î
Î
#Î
ˇ
Î
Î
Ó
17
B
?
?
rall.
ˇ
. ˇ
Î
#ˇ
# ˛ &
Œ = ◊. 60-66
ˇ
pp
nÎ
pp
nÎ
˛ ˛ ˛
3
˛ ˛ ˛
3
˛
Î
Î
˛ ˛ ˇ
ˇ
ˇ
ˇ
ˇ
ˇ
p
&# ˇ
˛
Î
Î
˛ n˛
mf
˛
˛ ˛ ˛ ˛ ˛
3
Î
Î
#Î
mf
#Î Î
,
,
&
23
&
nÎ
ˇ
&
p
nÎ
& ˇ
Œ = ◊. 54-60
Œ
ǫ
mp
˛
nˇ
nˇ
˛
˛
Î
Î
˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛
ˇ ˇ
Î
?
Î ?
Œ = ◊. 60-66
Ó
bÎÎ
pp
Î
B
ˇ
scuro
ˇ- ˇ-
ÎÎ
ÎÎ
stringendo poco
˛
bˇ Î
# ˛ ˛ # ˛ ˛ ˛ ˛
cresc.
bÎÎ
# ˇ
cresc.
29
B
?
?
b˛
a poco
ˇ
ˇ
˛ # ˛ b˛
&
˛ # ˛ # ˛ ˛ ˛ # ˛ ˛ n˛
>
ˇ
mf
ˇ
>
˛ n˛
n˛
˛
&
&
Agitato Œ = ◊. 96-100
b> ˇ
f
˛
piangendo
∑
con fuoco
b Î
>
bÎ
‰.. R Ô˛≤
PE066 – 20
b˛
-
J˛
≈ . R Ô˛≤ ˛-
∑
> nÎ
n#Î
J˛
≈ . R Ô˛≤
˛
# ˇ - n˛
-
∑
# ˇ
ˇ (
n > ˇ ˇ

˛
33
nˇ
-
&
# J˛ . ‰
#> ˇ
≥ # ˛
‰.. R Ô˛
# ˛ nˇ
-
b˛
-
˛
J˛.
‰
b> ˇ
˛
B
‰ ..
rK
>
˛ b˛
-
f
j
˛
≈ .
RÔ˛.>
&
∑
∑
∑
∑
∑
&
# > # ˇ
ˇ n b >
ˇ
nˇ
# w
> # w
#ˇ
# ˇ
n b >
ˇ
nˇ
ˇ
n ˇ # bˇ
> ˇ >
# bˇ
ˇ
#ˇ # >
cresc.
38
B
&
&
b˛
- J˛ ≈ .
ˇˇ n# nˇ >
&
∑
> b
RÔ˛ J˛ . b> ˛
≈ . R Ô˛>
sf
ff
# n˛
j˛ ‰ Œ
v
ˇ .
,
Œ
,
∑
∑ ?
Π= 56
Œ
#Î
pp
Î
n˛
˛ ˛
p
ˇ
.
ˇ.
. ˇ
˛ ‰..
B
Π= 70
>
RÔ˛
f
Π?
Œ
Π= 56
˛
Π&
p
Î>
& #
Î
sfz
Î > pp
∑
bˇ
- ˛- Œ
˛
˛
44
&
&
?
ˇ ˛ ‰..
.
ˇ .
∑
B
Π= 70
rK
˛
˛
>
f
Π?
bˇ
.
bˇ
- .
˛˛-
Π= 74
Π&
mf
Î>
#Î
sfz
Î > p
Î
˛ ˛ # ˛ ˛
# ˛ ˛ # ˛ ˛ ˇ
ˇ
˛ˇ
# ˛
# ˇ
n ˇ
ˇ
ˇ .
. ˇ
˛
Sostenuto Π= 56
B
‰ ..
Œ
Œ
rK
˛
>
f
bÎ
-
f
Î >
Î >
p
p
50
B
Ritornello Π= 80
Œ
˛
≥
b˛
mp
˛ ˛
bÎ
b˛
n˛
˛ b˛
n˛
nÎ
b˛
- n˛
p
˛b˛
˛n˛
3
a piacere
&
b- ˛ ˛ ˛b˛
˛
3
n
3
Risoluto
b> ˛
≤ n> ˛ ˛b˛
˛ ˛ ˛ n˛
˛b˛
n˛
˛˛˛n˛
3
f sub.
?
?
ˇ Î
mp
Î
˛ ˛
bbÎ
-
b
b
Î-
Î
Î
b
b
Î
Î
PE066 – 21
∑
∑
∑
∑

56
&
?
?
molto accelerando
˛b˛
˛ ˛ ˛n˛
˛b˛
cresc. molto
B
∑
∑
b˛
˛ ˛n˛
˛b˛
˛ n˛
>
˛ b˛
˛n˛
˛b˛
˛ ˛ ˛ ˛
molto f
Ó
Ó
Œ
Œ
≥
b ˛>
molto
≤
˛ Œ
>
n¨
˛
J ‰
f
j
˛ ‰
˛Ë
Scherzo: Allegretto Π= 104
4 2 4 2 4 2
ˇ
ˇ-
ff
∑
pesante (barbaro)
Œ
˛.
[Timp.]
b>
ˇ
bˇ
∑
∑
ˇ
ˇ-
˛.
∑
Œ
∑
b>
ˇ
bˇ
∑
62
B
?
?
˛-
f
˛.
∑
b˛
-
Œ
∑
˛- b˛
-
˛.
Œ
poco a poco accelerando
˛.
∑
b ˛ . b ˛
˛.
.
˛. ˛.
˛.
∑
b ˛ . ˛.
˛. ˛.
b ˛ .
˛.
∑
b ˛ . ˛.
˛. ˛.
b ˛ .
˛.
∑
al
b ˛ . b ˛
˛.
.
˛. ˛.
Π= 112
b b ˛ bb
‰ ˛
h l h l h l
˛ ˛ ˛ ˛ ˛
˛ ˛ ˛ ˛ ˛ ˛ ˛
ff
∑ & b ˛ >
mf b ˛ .
pizz.
Œ
b ˛
˛.
. ˛.
b ˛.
b ˛ .
> h ˛ b b >h ˛ Œ
˛ ˛
b ˛ . b ˛ .
˛.
b ˛ .
71
B
&
?
b b h l h l
‰ ˛ ˛ ˛ ˛ b b˛
h
J
˛ ˛ ˛ ˛
∑
˛. b ˛.
˛>
b b >
h
˛
˛
˛ b˛
∑
Œ
& ‰
b
˛ ˛
staccato simile
b˛
b b˛
h ˛l ˛h ˛l ˛h ˛l
b˛
b >
˛
b> h ˛
>
b h h> l
b˛
‰ ˛ ˛
b˛
b˛
b˛
˛
l l
≈b b ˛ ˛h ˛ ˛h h
b b ˛
˛
b˛
∑
˛
>
>
b h b˛
b˛
Œ
˛ ˛
>
b˛
arco
b˛
n˛
˛ ˛
‰
# ˛
f
b˛
>
˛
b˛
b˛
78
&
&
?
n˛
# ˛ ˛ ‰
b˛
˛ ˛>
b˛
˛> ˛
b˛
≈ ˛ ˛ # ˛ ˛ n˛
˛
>
b˛
b˛
˛
b˛
˛#
˛
˛
b˛
‰ n- J˛
>
b˛
b˛
‰
n˛
˛
> ˛
cresc.
PE066 – 22
b˛n˛
- b˛
˛
b˛
b˛
accelerando
≈ n˛
˛b˛n-
˛ b˛
˛
b˛ b˛
b˛ ˛
>
≈ n˛b˛
˛b ˛ . ˛.
4 3 N˛
4 2
â
ff
4 3 b > >
˛ b˛ 4 2
ff
4 3 b˛
˛ ˛
4 2
>
˛
˛v

84
&
Più mosso Œ = 120
4 2 ∑
4 2 4 2
∑
∑
∑
&
?
Œ
f
˛˛
>
b ˛ .
[Tpts + Hns]
b b˛˛
˛ â
˛˛>
b ˛ .
‰ b b ˛˛
˛.
b> ˛ b ˛ .
b˛
˛˛
˛.
˛˛
˛.
bä
b
˛˛
˛˛
˛.
˛˛
˛.
˛˛
˛.
˛
fl
b>
˛
b˛
b b˛˛
˛ >
b ˛ .
Œ
b>
b
˛˛
˛.
‰ b b ˛˛
˛.
˛
˛
>
b ˛ .
˛˛
˛.
˛˛
˛.
˛˛â
˛˛
˛.
j
b b >
˛
88
&
∑
∑
∑
∑
&
?
b b˛˛
˛ â
˛
˛
>
b ˛ .
Œ
˛˛>
b ˛ .
‰
b
b b . . . . . .
˛ ˛ ˛ ˛ ˛ ˛
b> ˛ b ˛ .
b˛
bä
b
˛˛
b>
˛ b b
> ˛ ‰
b>
˛
b˛
b ˛ .
b> b
˛˛ ˛.
> .
˛ ˛
. . . .
≈b b ˛ ˛ ˛ ˛
˛
˛
>
b ˛ .
˛˛â
.
b b ˛
92
&
∑
∑
∑
∑
b & b
>
˛ Œ
?
più f
b˛
b ˛ > ˛. ˛.
b ˛ .>
‰
.
b˛
b˛
.
ff
b ˛ > ˛.
˛.
˛
.
.
˛
.
˛ b .
. .
˛b#˛˛
. .
b ˛.
.
nn˛˛
.
.
#˛
.
b˛˛
.
b ˛ . ˛. ˛>
‰ ˛>
b˛
-
b ˛ .
.
˛
. .
≈ ˛
‰ b˛
b ˛ >
.
˛ b .
.
#˛
˛
.
.
˛
.
˛
.
.
n˛
˛
.
b ˛.
˛.
.
n˛
˛
.
96
&
&
?
.
n
b˛
˛
.
˛.
.
˛
b
∑
.
#˛
˛
.
b ˛ .
‰
b˛
-
j
n ˛
>
b> ˛ b ˛ .
.
‰ n˛
≈ b˛
˛
. .
˛
> ˛.
∑
.
b˛
˛
.
n ˛
>
˛
>
b ˛ .
. .
b˛
n˛
˛n
˛
. .
˛ b .
PE066 – 23
∑
n ˛
. . .
˛ b˛ n >
≈ ˛
b ˛ n˛ b˛ ˛
. . . >
b ˛
b ˛ .
> ˛.
.
b˛
˛
.
˛ b .
.
n˛
n˛
.
∑
4 3 4 2
. . . . .
n˛ b˛
4 3 ˛ b˛ ˛ ^
≈ n ˛ b˛ ˛ ˛ n˛ b˛n˛˛
.
4 2 . . . . .
4 3 b˛
b ˛ b ˛ 4 2
> .
˛ > ˛. > ˛˛v
attacca

III
&
&
?
Allegro vivace Π= 126
4 2 ∑ ∑
4 2 4 2
^
ˇ
ˇa a
Œ ‰
ff
˛
˛v
˛.
j
˛
>
˛.
‰ j
‰ j
˛ ˛
> >
˛. ˛. ˛. ˛.
‰ j ˛
˛.
˛.
∑
˛. ˛.
‰ j ˛
˛.
˛.
‰ j ˛
˛.
˛.
∑
˛. ˛.
‰ j ˛
˛.
˛.
˛ ˛ ˛# ˛ ˛ ˛# ˛#
˛
f
‰ j
˛
mp
˛
˛
‰ j ˛
˛
˛
˛ ˛# ˛# ˛ ˛ ˛ ˛ ˛
‰ j ˛
˛
˛
‰ j ˛
˛
˛
˛ ˛ ˛# ˛ Ÿ
˛ È
# ˛
‰ j ˛
˛
˛
‰ j ˛
˛ ˛
8
&
&
?
≈ n˛
˛# ˛ ˛m
‰ j ˛
˛
˛
˛ B
‰ j ˛
˛ ˛
Ÿ
˛
Ÿ # ˛
˛ #˛
‰ j ˛
‰ j ˛
˛ ˛ ˛ ˛
˛m
Œ
# ˛ Œ &
f
˛ ˛ Œ
Ÿ ˛
“ # .
˛ #
˛˛
˛ ˛# ˛# ˛ ˛ ˛n˛
˛
‰ j
˛
mp
˛
˛
‰ j ˛
˛
˛
˛ ˛n˛
‰ j ˛
˛
˛
# ˛ ˛ ˛# ˛ ˛
‰ j ˛
˛
˛
˛ ˛# ˛# ˛n˛
˛ ˛ ˛
‰ j ˛
˛
˛
‰ j ˛
˛ ˛
Ÿ
˛ b˛
‰ j
˛
n Ÿ ˛ b˛
‰ j ˛
j
˛ ‰ j
˛ ‰
15
&
&
?
Ÿ
n˛
Œ
b˛
Œ
Ÿ
˛ b .
˛ b
˛˛
f
˛ ˛ ˛ ˛˛
∑
n˛
b . Ÿ
nŸ
˛ b
˛˛ n˛
n˛
b˛˛ b .
˛ ˛ ˛ ˛˛
# ˛ ˛ n˛
n˛
‰
#
#
mp #
˛˛
j ‰ Œ
#
#
˛
˛ ˛ # ˛ # ˛
˛˛
n˛
˛
˛
Œ
˛ ˛ ˛ ˛ b
Ÿ “ ˛
j
#
# ˛
# ˛
b
b
˛˛
‰ j
b b˛
b˛
Ÿ
b˛
b
b ˛
˛
‰ j
b b˛
b˛
b Ÿ ˛
˛
‰ j
˛
˛˛
˛
Ÿ
bbÊ˛
Ê˛ b˛
b
b ˛
‰ j
b b˛
b˛
Œ
˛
˛˛
˛ &
21
&
∑
∑
∑
∑
∑
&
&
√
b Ÿ“ ˛ ˛.
f
b˛
b˛
˛.
˛
Ÿ
b˛
˛.
b˛
˛.
Ÿ “
˛
n ˛ . ˛Ÿ ˛.
mf
∑
˛ ˛ b˛
˛ ˛Ÿ ˛.
∑
˛ ˛ b˛
Œ
˛ b Ÿ{ ˛ ˛.
˛ ˛ b˛
˛
˛ ˛ b˛
˛ b Ÿ{ ˛ ˛.
b˛ ˛. ˛ ˛ b˛
Ÿ {
˛
PE066 – 24

26
&
∑
∑
∑
∑
&
b˛
b˛
b˛
b˛
Ÿ
˛
{
# ˛ .
˛# ˛# ˛ ˛ b Ÿ ˛
“ ˛.
b Ÿ{ ˛ # ˛. ˛n˛# ˛ ˛
b Ÿ”
˛
n ˛ .
n˛
n˛
b˛
˛# ˛ . ˛
&
b˛
b˛
b˛
b˛
n˛
n˛
# ˛ # ˛
˛# ˛# ˛ ˛
˛ ˛n˛
n˛
b˛
-
Π?
# ˛.
4 3 4 2
4 3 4 2
4 3 ˛ b˛
n˛
n˛n˛
n˛
b˛
˛# ˛ . ˛
4 2
30
&
Œ
B˛- ˛- ˛- ˛-
mf
∑
˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛
˛ ˛b˛
˛b˛
˛ ˛ ˛
b˛
˛ b˛
˛b˛
˛ ˛ n˛
˛ ˛ ˛b˛
J˛ ‰
&
?
4 2 4 2 4 2
J˛ ‰ Œ
mf - .
J˛ ˛ ˛
˛ ˛
- .
-
#˛
#˛
-
.
˛
˛
.
n˛
n˛
∑
b˛
b˛
simile
˛
˛
˛
˛
˛
˛
∑
˛
˛
˛
˛
˛
˛
∑
˛ ˛ ˛ ˛
˛ ˛ ˛ ˛
˛
˛
∑
b˛
b˛
˛
˛
Œ
˛
˛
˛ ˛# ˛#
˛
f
‰ Œ
36
B
˛ ˛ ˛ n˛
˛ ˛ ˛ ˛
˛ ˛ b˛
b˛
b˛
˛ ˛ ˛
b˛
˛ ˛ n˛
b˛
˛ ˛ b˛
b˛
b˛
b˛
˛ b˛
˛ ˛ n˛
˛ ˛b˛
˛ J˛ ‰ &
&
?
j
n ˛ ‰ Œ
‰
mf˛ ˛ ˛ ˛
˛ ˛ ˛ ˛
∑
˛ ˛ # ˛ # ˛
˛ ˛ # ˛ # ˛
n˛
n˛
∑
n˛
n˛
˛
˛
˛
˛
n˛
n˛
∑ Œ
n˛
˛ ˛
n˛
˛ ˛
f
‰ Œ
˛ ˛ ˛ # ˛
41
&
&
?
˛ ˛b˛
˛ ˛ ˛n˛
˛
f
b˛˛
J˛
b
˛˛ b
˛
˛
˛
˛
b˛
˛ ˛b˛
˛b˛
˛ ˛b˛
˛
b˛
˛
˛
˛
,
,
˛> ˛b˛
n˛b˛
˛ ˛b˛
∑
∑
˛ ˛ # ˛# ˛n˛
˛n˛
˛
∑
∑
# ˛ - n˛
˛ ˛ ˛- ˛ ˛ ˛
preciso
# .
#
R˛˛ ‰ .
˛ . ˛ ‰ R
.
#
mf
R˛ . ‰ . R˛. ‰.
b- ˛ ˛ ˛ ˛ n˛
- ˛ ˛b˛
b˛.
b˛
‰.
R
b R˛ . ‰.
n˛.
n˛
‰ .
R
n R˛ . ‰ .
&
PE066 – 25

47
&
&
&
b> ˛ ˛ ˛ ˛ n˛
ff
[pizz.]
b> ˛
f
˛.
˛.
˛ ˛ b˛
˛.
b˛
b >
˛
˛. ˛. ˛.
?
˛N˛
˛ ˛ # ˛ . ˛>
˛. # ˛.
n ˛ . ˛.
˛.
# ˛ . n ˛ . ˛.
˛
,
j
˛.
j
˛
˛.
Œ
>
˛
b˛
# > ˛ n˛
>
˛ ˛>
˛ ˛ ˛
˛
mf
poco rall.
∑
> ˛ j
˛ # ˛ .
>
˛ j
˛
˛ # ˛
# ˛ .
Poco meno mosso Π= 116
∑
# ˛
- ˛-
Œ # ˛
-
f
‰ j
#
# ˛
>
˛˛ ˛.
∑
.
n
# ˛#
˛ n -
# ˛ # ˛# ˛ ˛
- .
# # ˛
- ‰ j # ˛.
53
& ∑
∑
.
& # # ˛ ˛ n -
n ˛ # ˛# ˛ ˛ # - n ˛ # ˛-
˛
- . - -
-
?
# n # ˛ J˛
. # j # ˛
.
# ˛ J j
. #
# ˛˛ ˛
>
˛.
∑
∑
.
# ˛#
˛ n - .
# ˛ # ˛# ˛ ˛ # # ˛ ˛ n -
n ˛ # ˛# ˛ ˛
. -
# # ˛
- .
‰ j #
# ˛
## ˛
- Œ
.
-
n˛˛
˛
-
ff
n n˛ -
∑
-
˛
-
‰ j
˛.
∑
.
b ˛ ˛
-
˛ b b ˛ ˛ ˛
- .
n˛
- .
bb
J˛
j
˛.
59
&
∑
∑
∑
∑
∑
&
?
˛n˛b ˛
. -
b˛ b˛n˛b˛
.
n˛
- .
nb
J˛
j
˛.
˛n˛
bb˛
n˛
-
.
n˛
b -
˛n˛n˛
.
J˛.
j
˛.
˛ ˛b ˛
. b -
b˛ ˛ ˛b˛
.
n#˛˛˛
- b
.
n ˛
J j
˛.
˛n˛
bb˛
n˛
-
.
n˛
b -
˛n˛n˛
.
J˛.
j
˛.
.
# # ˛n˛
n -
# ˛ # # ˛ ˛ ˛
.
# -
n
#
# ˛
. ˛ J j # ˛.
64
&
& # - n ˛-
# ˛ # ˛
- -
? j
# ˛ j .
#
# ˛ ˛˛ >
˛.
∑
B
Più vivo
f risoluto
Π= 132
# ˛ # ˛ # ˛ # ˛ ˛ ˛ ˛ # ˛
# - Œ
# ˛
mp -
˛-
‰ j ‰ j # ˛.
˛.
˛# ˛# ˛ ˛ n˛
˛. ˛ # .
˛-
˛ ˛ ˛
‰ j
˛. # ˛ . ˛.
# ˛ ˛# ˛ ˛ n˛
n˛
˛ ˛
# ˛ .
˛. ˛-
‰ j ˛.
‰ j ˛.
# ˛ # ˛ # ˛ # ˛ ˛ ˛ # ˛ ‹ ˛
# ˛ - ˛-
‰ j ˛ # .
‰ j ˛.
PE066 – 26

69
B
˛# ˛ # ˛ ˛ n˛
˛ ˛ ˛
# ˛ # ˛ ˛ # ˛ n˛
n˛
n˛
˛
˛ b˛
b˛
˛ ˛ ˛ ˛ ˛
b˛
˛ ˛ ˛ b˛
˛∫˛
˛
˛ b˛
n˛
˛ b˛
b˛
b˛
n˛
&
?
˛. ˛ # .
˛-
˛
‰ j
# ˛ . ˛.
# ˛ .
˛.
# ˛ .
˛.
n˛
-
‰ j ˛ n .
˛- ˛-
mf
‰ J˛.
‰ J˛.
b ˛ . ˛.
b ˛ . ˛.
b˛
-
‰ b J˛ .
˛.
b ˛ .
b˛
-
‰ b J˛ . ‰ b J˛ .
74
B
˛ ˛N˛
˛ b˛
˛ ˛ n˛
˛ ˛ b˛
˛ b˛
∫˛
˛ ˛
˛ ˛ ˛ ˛ b˛
˛ ˛ ˛
b˛
b˛
b˛
˛ n˛
˛ n˛
˛
# ˛
# ˛ # ˛ # ˛ ˛ n ˛ n˛
# ˛
> >
cresc.
&
?
˛. ˛.
˛.
b˛
-
˛. ‰
b .
J˛
˛.
˛ b .
b˛
-
˛. b ˛ . ‰ b J˛ .
˛. ˛.
˛.
b˛
-
˛. ‰
b .
J˛
# ˛ n ˛ . . ˛-
‰
n .
J˛ ‰
n J˛ .
# ˛ - ˛-
‰
j
# ˛ .
‰
j
˛.
79
B
&
?
# ˛# ˛ n˛# ˛ ˛ ˛ ˛ ˛ >
Œ
Œ
˛
# ˛ -
# # ˛
#
˛˛ - ˛
# ˛ # ˛ ˛ ˛> ˛>
˛> ˛>
Œ
# ˛ -
# -
Œ
r
# ˛ ‰ . Œ
>
poco accelerando
∑
# ˛ - # ˛ ˛n ˛ . - .
## # ˛˛
# ˛# ˛#
˛
mf cresc.
# ˛ - # ˛ # ˛ # ˛
Œ
. ˛-
∑
al
# ˛
- .
n ˛ n˛# ˛n˛
˛ # ˛ n ˛ . ˛-
&
84
&
Π= 138
˛ ˛ ˛# ˛ ˛ ˛ # ˛#
˛
˛ ˛ ˛# ˛ ˛m [ # ˛
n m“ ˛
# ˛ nm ˛
“
# ˛
# m] ˛ n˛
˛m { n˛
˛m “
# ˛ n m“ ˛
# ˛
n˛
˛ n˛
˛ ˛ ˛ # ˛ ˛
f risoluto
&
?
# .
‹ # ˛ ‰ ˛-
J
# f
J˛ . ‰
˛-
˛
˛
# mp
˛ -
#‹ ˛
# ˛ - n˛
-
#ˇ
# ˛ n˛
ˇ
# ˛ n˛
ˇ
#ˇ
nn
n
ˇ
PE066 – 27

90
&
˛ ˛ b˛
b˛
˛m“ b˛
m “
b˛ ˛ bm { ˛ ˛
m {
b˛ ˛ nm “ ˛ n˛
# p˛ . ˛. ˛. ˛. ˛. ˛.
# ˛ . ˛.
˛ ˛b˛
simile
b˛
˛ ˛n˛
˛
# ˛ ˛ ˛ ˛ ˛ ˛# ˛ ˛
b˛˛b˛b˛
˛˛n˛#
˛
&
?
b bˇ
b
b ˇ
˛- b˛
-
ˇ
n˛
-
˛
ˇ
n˛
-
n˛
j ‰ j ‰
n ˛ . # ˛
p sub.
. n J˛
. ‰ .
# J˛˛ ‰
j
b ˛
‰
.
.
bb
J˛
‰
j ‰ ˛.
n . ˛ ‰
J
j
n ˛
‰ j ‰
. # ˛.
.
nn .
J˛
‰ # ‰ J˛˛
j
b˛ b .
‰ j˛ n˛ n .
‰
b J˛ .
‰ n J˛ . ‰
97
&
&
?
m “
- -
˛- ˛-
#˛ ˛ # ˛
˛ ˛ ˛ ˛n˛
f
# mf
˛ - n˛
-
ˇ
ˇ
“
m M
n˛ # ˛ ˛ # ˛
˛ ˛
˛- ˛-
ˇ
ˇ
- - M
≤
˛-≤
˛-
#˛ #˛ ˛
˛ ˛ ˛ ˛ ˛
˛-
ˇ
ˇ
˛-
˛
M [
M ]
# ˛ ˛ # ˛ ˛
˛ ˛
˛- ˛-
ˇ
ˇ
b
n
b˛
b ˛ ˛ ˛ ˛ n˛
˛
# n ˛
#
# ˛
più f
j ‰
# ˛ .
j
˛
˛.
˛
- . j
#
#˛
˛
n˛
‰
J˛
j
˛
# - ˛.
‰ # ˛˛
# ‹ # ˛ n
‹ ˛ ˛ ˛# ˛ ˛
# ‹ ˛
#
# ˛
#˛˛ # -
‰ #
#
˛˛ -
103
&
n
b
n ˛ ˛# ˛ ˛# ˛
˛# ˛ ˛
˛ ˛ ˛N˛
˛ ˛ # ˛ ˛
˛ ˛n˛
˛ ˛ ˛# ˛ ˛
˛ ˛n˛
˛ ˛ ˛# ˛ ˛
˛ ˛n˛
˛ ˛ ˛# ˛ ˛
˛ ˛n˛
˛ ˛ ˛# ˛ ˛
p sub.
&
?
j ‰
n ˛ . #˛
j
˛ ‰
˛.
# ˛
˛
˛
b˛
n˛
Œ
Œ
n˛
# ˛
ˇ
˛
# ˛
∑
∑
∑
∑
109
&
&
?
b˛
Œ
Œ
n˛
˛ ˛ # J˛
f
‰
# J˛
v
j ˛v
˛
f
-
˛
‰
‰
ǫ
.
˛
J˛
v
j
˛v
‰ Œ
˛.
˛-
mp
‰ Œ
simile
˛
b˛
∑
˛ ˛ ˛
∑
PE066 – 28
rallentando
∑
˛ ˛ b˛
mf
‰ ˛ b˛
# ˛ n˛
# ˛ n˛
˛
˛
∑
b˛
b˛
al Meno mosso
Œ = ◊. 92-96
∑
>
b˛
b˛
b˛
b˛
‰ Œ
b˛
˛ ˛
b
f -
J˛ . .
bb
b
- . -
˛
˛˛
˛˛

115
&
∑
∑
∑
∑
∑
∑
&
?
˛ b ˛ . ˛-
b . -
b
˛ b˛
˛˛
˛ b ˛ . ˛-
b . -
b
˛ b˛
˛˛
‰
p
bb
b
-
˛
mf j ˛ b -
b ˛ .
. -
˛˛
˛˛
˛ ˛
J˛. b˛
-
b . -
˛
b
b
˛˛
˛˛
j ˛ b .
bb
b
-
˛
˛ b˛
b˛
˛ ˛
. -
˛˛
˛˛
j
b ˛ ‰ Œ
b ˛ ˛ b˛ b˛
> . .
f . 3
b . -
b
˛ b˛
˛˛
˛
.
3
( p sempre)
b˛
.
121
&
&
?
‰
bb
b
-
˛
∑
mf
jb ˛
b- ˛
. ˛ ˛
. -
˛˛
˛˛
J˛. b˛
-
∑
b . -
˛
b
b
˛˛
˛˛
j ˛ b .
bb
b˛
-
˛ b˛
∑
b˛
˛ b˛
˛˛.
˛
˛.
j ‰ Œ
˛
˛ n˛
b˛
mf
‰
3
j
˛
˛.
∑ ‰
b ˛ ˛ b˛
. . .
bn˛
bb˛
-
-
.
3
n˛
[harmonics]
.
j
b˛
- b˛
b
b
Ê
˛
-
J
j
b ˛
‰
.
b˛
b
b
Ê
˛
.
˛ ˛
Ê˛ n nÊ˛
b ˛
.
˛˛p
˛ ˛˛. ˛-
J˛.
b ˛ .
b J˛ .
simile (bis m.151)
˛ b ˛˛ .
˛b b˛˛
.
˛
˛-
˛
˛-
127 ˛b˛
˛b˛
˛ ˛ ˛
&
b˛
Œ
∑
‰ b- b ˛
J˛
. ˛b˛
˛b˛
˛
b J˛
˛n˛
˛b˛b˛
b˛
˛
&
?
b
b ˛ -
b
b
˛ -
Œ
b
˛
˛˛
( p sempre)
mf˛ b˛
˛ ˛
Œ b˛
.
f
˛
bb
b
˛
˛˛
˛ ˛
˛
.
j
b˛˛
‰ Œ
˛ b˛ b˛
> . .
3 .
˛
bb
b
˛
J
˛b˛
. .
3
˛
J
mp
b
b
˛
Œ
˛. b ˛ .
p
˛ ˛˛
b
J˛ b
∑
˛
J˛
bb
˛
J
˛
∑
b
n ˛
J
133
&
˛
Œ
∑
∑
∑
∑
&
?
mf
b˛
b
˛
p
˛ ˛ ˛ ˛ b˛
b˛
. .
mf˛ n˛
˛ ˛
( sempre)
j
˛ ‰
3 .
˛ b˛
b˛
˛
˛
Œ
˛ b˛
. .
3
˛
˛
.
‰
b˛
b˛
.
J
˛
b˛
mp
b˛
˛ ˛ b˛
‰ Œ
b˛
PE066 – 29
˛ b˛
˛
b J˛ . ˛-
˛ b b˛
˛
b J˛ .
b˛
˛ ˛ ˛b˛
bb
b
˛
b
˛
bb˛

138
&
∑
∑
∑
∑
∑
j
n ‰ Œ
& b ˛ ˛ b˛
mf
˛
. . .
3 .
? n b
˛ ˛˛
˛˛
˛
.
3
b˛
.
‰
Ÿ
bb˛˛
mp˛ b
b˛
~~~~~~
˛ ˛ ˛ b˛
˛˛
˛ ˛
.
j
b˛ b˛
-
nˇ
˛ ˛
b
b ˛
˛
. j b ˛
b n˛
n˛
b˛
J˛ ‰
p sub.
b b .
J˛ ‰
b˛
b
n
-
˛
˛
j ‰ Œ
mfb
˛ b˛
3 .
˛
˛.
Œ
˛ ˛
˛
.
˛ ˛
. .
3
b˛
b˛
.
143
&
&
?
‰
b˛
mf
˛ ˛ b˛
b˛
ˇ
˛ ˛
p
bˇ
bˇ
˛ b˛
b˛
˛ ˛ ˛ b˛
bˇ
˛ ˛
nˇ
nˇ
b˛
b˛
b˛
˛ ˛ ˛ ˛ ˛ n˛
bb˛ˇ
˛ ˛
bˇ
b˛
˛ ˛
bˇ˛
b˛
mf
Œ
bˇ
˛b˛
˛b˛
˛ ˛
.
n˛
n ˛
.
˛
Œ
b -
b -
˛ ˛ ˛
3
˛.
˛.
b ˛
. 3
b ˛
. .
ˇ ˛
.
˛
148
&
‰
b˛
b˛
˛ ˛ ˛ b˛
b J˛ .
b˛
b J˛ .
n > ˛ b˛
˛ ˛ ˛ b˛
˛ ˛
˛
Œ
∑
&
?
bb˛ˇ
˛ ˛
p
b nˇ
bˇ˛ b˛
bˇ
bˇ
˛
?
b ˛
. J
‰
j
˛.
b .
b
n˛
J
‰ Œ
‰ &
‰
˛ b˛
˛ ˛ ˛ b˛
p sub., cresc.
∑
b˛
ˇ
b˛
˛ ˛ ˛ ˛ ˛ ˛
‰ ˛ b˛
˛ ˛ ˛ b˛
153
&
&
?
∑
˛ b
˛ ˛ b
b˛
˛ ˛ ˛ ˛ ˛ ˛
b˛
ˇ
‰ ˛ b˛
mf
˛ ˛ ˛ b˛
b˛
‰ b -
J˛
b
b
ˇ
p sub.
∑
Œ
b˛
.
˛ ˛
∑
J˛. b˛
-
.
‰ j ˛-
b˛
ˇ
j ˛ b .
b˛
˛
∑
‰
-j
b b ˛
. ˛
b
b ˛ ˛
b˛
˛ ˛
..
.
j
b˛ b˛
- j ˛.
ˇ
∑
. j .
b˛ j
˛- b ˛
b ˛ Œ
b
b˛
˛ ˛
b ˛ b˛
PE066 – 30

158
&
&
?
b˛
b˛
∑
˛ b˛
˛ b˛
n˛
nn˛
-
b˛
‰ b -
J˛
bˇ
bbˇ
-
∑
Œ
˛
.
˛ ˛
J˛.
b˛
-
˛-
‰ j
ˇ
ˇ
∑
j ˛ b .
b ˛
. b˛
˛
-
‰ j b b ˛
.
b
˛ b ˛ b˛
˛ ˛
j
b ˛
.
b˛
- j ˛.
ˇ
ˇ
∑
˛
j
b ˛
. . j
˛- b ˛
˛ Œ
b
b˛
˛ n˛
b˛
˛
∑
163
&
&
?
b˛
bb˛˛
∑
˛ b˛
˛ ˛
n -
n b ˛
∑
Œ
˛‰
ˇ b˛
˛ ˛ b˛
˛ b˛
bˇ-
bˇ
∑
. j .
b˛ j
˛- b ‰ ˛ b˛
˛ b˛
˛ b˛
ˇ
ˇ
b
‰
b
b˛
J˛ b ˛
b˛
ˇ
ˇ
∑
˛ b˛
˛ b˛
b J˛
b˛
˛ ˛ ˛ ˛
. j
b˛
b˛
b bnˇˇ˛
∑
. j
˛- b ˛
˛b˛
˛ ˛ ˛
Œ
168
&
&
?
b˛
˛
n ˇˇ
b˛
∑
˛ ˛ ˛ ˛
Œ
n˛
‰
ˇ
b˛
f
b˛
sub.
∑
Œ
˛ ˛ ˛ b˛
. j
b˛
‰
b˛
bb ˇ
cresc.
b ˛ >
b˛
∑
n˛
˛ b˛
. j b ˛ b˛
>
‰ n˛
n˛
b ∫˛
.
J˛
-
ˇ
∑
> >
˛ # ˛
b ˛ n˛
J˛
G.P.
∑
G.P.
∑
∑
173
&
Π= 100
∑
molto accelerando
∑
∑
∑
∑
al
&
?
> ˛b
˛˛ ˛b
˛
˛
molto f
˛˛
˛˛ b
b
˛˛
˛> b˛
˛ ˛
n b ˛˛
˛
˛ ˛˛
˛ b > ˛
J
˛ ˛
˛> ˛ ‰
mf j
b
‰
˛b˛
˛ ˛
˛
&
b˛
˛b˛
˛ b> ˛ ˛ ˛ ˛
> ˛ ˛˛
>
f
˛ b ˛˛ ˛˛ b ˛˛
˛˛ ˛˛
b
˛ b
˛˛
˛˛ b˛˛
cresc.
b
˛ b b
˛˛
˛˛ ˛˛
˛˛ b ˛˛
˛˛ b˛˛
b
˛ b
˛˛
˛˛ b˛˛
?
b
˛ b
˛˛
˛˛ b˛˛
˛˛ b ˛˛ ˛ b˛˛
b
˛ b b
˛˛
˛˛ ˛˛
˛˛ b ˛˛ ˛ ˛
PE066 – 31

178
&
&
?
Π= 138
∑
# ˛
- ˛-
## # ˇ
ff
#ˇ
B
Œ
˛ ˛
˛≤ ˛
f
n˛# ˛# ˛ .
n˛
mf
##
#˛ ˇ
˛˛
# J˛
‰
˛≥
# ˛# ˛ ˛. n˛
# #˛ ˇ
nn˛
˛ ˛
˛
#˛
Œ
≥
# ˛ >
#
# ˛ - ˛-
Œ
#ˇ # ˇ
ˇ
# ˛ # ˛ # ˛ # ˛ # ˛ ˛ # ˛
# ˛ -
183
B
# ˛ # ˛ # ˛ ˛ # ˛ # ˛ # ˛ # ˛
&
# ˛ # ˛ ˛ # ˛ # ˛ # ˛ # ˛ # ˛
n J˛
o ≥
‰ n˛
f
0
ǫ
( ǫ )
ǫ- Ê
Jǫ
‰ Œ
≥
( ǫ )
Ê
ǫ
ǫ-
ǫ
- b˛
B
&
# ˛ Œ -
Œ ‰ # ˛#
˛
n- ˛ ˛-
n˛
˛ ˛.
b˛
-
˛n˛
˛. b˛
-
?
ˇ
# ˛ - ˛-
ˇ
# nˇ
˛
ˇ
˛
## ˇ˛˛
#n ˛
188
B
# ˛ # ˛ ˛ ˛ # ˛ # ˛ n˛
# ˛
>
mf
# ˛ # ˛ ˛ # ˛ # ˛ ˛ ˛ # ˛
&
# ˛ # ˛ # ˛ ˛ # ˛ # ˛ n˛
n˛
n˛
- ΠB
f
˛-≥
˛-
&
?
# #ˇ
˛- ˛-
Œ ˛-
ˇ
˛- Œ
ˇ
&
n˛
- ˛-
mf
n #ˇ ˇ
b˛
˛ ˛. b˛
# ˛ˇ
nb ˛
193
B
b˛
˛ ˛.
n˛
-
˛ ˛ b ˛ .
b˛
-
˛ ˛ ˛.
# ˛ -
˛ ˛ ˛.
b˛
-
˛ # ˛ # ˛ ˛ # ˛ # ˛ ˛ n˛
&
˛ n˛
b ˛ .
b˛
˛ ˛ ˛.
b˛
˛ n˛
˛. b˛
˛ # ˛ # ˛ .
n˛
# ˛ - ˛-
&
# ˛ bnn˛˛
˛
##˛ˇ
nn ˛
##˛ˇ
nn ˛
##˛˛
?
##
# ˛
#
# ˇ
PE066 – 32

198 ˛
B
&
?
n>
n˛
n˛
poco f
˛ ˛>
n˛
-
n-
˛
˛˛
ˇ nˇ
˛
˛
˛
b> ˛
b˛
b˛.
b˛
˛
ˇ
˛
˛ b > ˛
b˛
˛. b-
˛ b
˛˛
˛
˛ b˛
˛>
˛ ˛ b > ˛
b˛
˛
˛. b .
˛ b
˛˛
b˛
ˇ
b˛-
b˛
n˛
˛ ˛
˛>
˛.
˛
˛
ˇ
˛ ˛ b ˛
˛ > b˛
˛. b-
˛ b
˛˛
b˛
˛ ˛
˛
> ˛ ˛ ˛ b ˛
> b˛
˛. . b-
˛
˛˛ b
˛˛
b˛
ˇ
b˛
˛ ˛
203
˛
B
&
?
> ˛ ˛ ˛ ˛
> ˛ ˛ ˛
˛
˛.
# ˛
# ˛ .
˛˛-
Ÿ { ~~~~~~~~~~~~~~~~
ˇ
˛
˛ n#˛
# ˛
# ˛ -
˛˛-
Œ
#
# ˛
# ˛
˛-
p sub.
# ˛
&
-
f
poco a poco accelerando
# mp˛ ˛ ˛ ˛ # ˛
sub.
# ˛
. J ‰
0
# ˛
-
Œ. -
# ˛ ##˛
p -
˛-
˛ # ˛ # ˛
# ˛ ˛ n˛
cresc. poco a poco
J˛.
J˛.
‰
˛ # ˛ ˛ # ˛ # ˛
# ˛
-
‰ ˛ #˛ n -
˛ ˛ n˛
J˛.
j
˛.
‰
‰
˛ # ˛ ˛ # ˛ # ˛
# ˛
-
#˛˛ n -
208
B
&
&
˛ ˛ ˛ ˛ # ˛ ˛# ˛#
˛
J˛.
j
˛.
‰
‰
n˛
-
˛-
b ˛J˛ .
˛ ˛ ˛ ˛ # ˛ ˛ ˛ # ˛
&
Œ
‰
# n˛
-
cresc.
b˛
-
nn˛
-
b˛
˛ ˛ ˛
˛ ˛ b˛
˛ # ˛ ˛ n˛#
˛ b
˛- #- ˛ ˛- ˛-
˛˛
-
b˛
-
n n˛˛
# ˛ ˛ n˛
n˛
˛ ˛ # ˛ # ˛ n˛
˛
˛- ˛-
˛- ˛ n -
˛ b˛
˛
213
˛
&
Allegro molto Π= 144
n - ˛- ˛- # ˛ - ˛- ˛-
#- ˛ # ˛ -
˛- ˛- ˛- # ˛ - ˛m[ # ˛
f
n m“ ˛
# ˛ n m“ ˛
˛
b m“ ˛ ˛ # m“ ˛ n˛
# m“ ˛ n˛
&
∑
Œ
˛-
# ˛ - n˛
-
˛- # ˛ - n˛
-
&
fˇv
ˇ
ˇ
ˇ .
4 3 4 3 4 3 4 2 4 2 4 2
?
dim.
PE066 – 33

217
&
˛ ˛ ˛ # ˛ ˛ # ˛ ˛ ˛
˛ ˛ ˛ # ˛ n m{ ˛
b˛
m {≤ ˛ ˛ ˛m“≤ ˛
m “
#˛
# ˛ n m{
˛
n˛
B
˛ ˛ b˛
˛ ˛ n˛
# ˛ # ˛
4 2
& 4 2
?
4 2
. j
# ˛ - . ˛
ˇ
mp
∑
# ˛ - . j
.
ˇ ˛
Œ
˛˛-
b˛
ˇ
˛ ˛ n˛
# ˛
# ˛ -
˛˛-
˛
# ˛
-
# ˛ -
˛˛
# ˛ . n ˛ .
j
n˛
p
bˇ-
bˇ
‰ Œ
222
B
˛ ˛ ˛ ˛ ˛ # ˛ n˛
b˛
# ˛ n˛
˛ ˛ ˛ # ˛ n˛
n˛
# ˛ ˛ n˛#
˛ ˛ n˛#
˛ ˛
mp
n˛
# ˛ ˛ n˛
# ˛ ˛ n˛#
˛
˛
>( n˛#
˛ ˛ n˛#
˛ ˛ n˛
&
?
nˇ-
nˇ
∑
mp ˇ -
ˇ
∑
ˇ
ˇ
∑
ˇ
ˇ
∑
ˇ
ˇ
∑
227
B
˛^ ˛ ˛ ˛ ˛ ˛ ˛ ˛
f
˛ ˛ ˛ # ˛
Œ
˛ ˛ # ˛ # ˛ Œ
˛ ˛ n˛
# ˛ Œ &
˛ ˛ ˛ # ˛ # Œ
&
?
˛
>
mf
>
˛
˛ ˛ ˛
> > >
f
>
˛ ˛> ˛>
Œ
∑
mf
˛. ˛. # ˛ . # ˛.
Œ
∑
˛. ˛. ˛ n . ˛ # .
Œ
∑
˛. ˛. ˛ # . ˛ # .
Œ ˛. ˛.
∑
n ˛ . # ˛.
232
&
&
?
˛ ˛ n˛
Œ
# ˛ Œ
∑
f
˛. ˛.
# ˛ . # ˛.
&
Œ
˛> ˛> # > ˛ # > ˛
˛> ˛> ˛ # > ˛
˛> ˛ # ˛ # ˛ ˛ ˛ ˛
molto f
Œ
f
#
> Œ
# # ˛ ˛ ˛ n˛
# ˛. n > ˛
∑
˛
˛ ˛ ˛ # ˛ ˛ ˛ # ˛#
˛
˛
# > ˛
∑
˛ ˛# ˛#
˛ #> ˛ ˛ ˛ ˛
˛
ff
#> ˛
∑
PE066 – 34

237
# ˛ ˛ # ˛ # ˛
&
Œ
# ˛ ˛ # ˛ # ˛
# ˛ ˛ # ˛ # ˛
mf
# ˛ # ˛ # ˛ ˛ ˛ ˛ ˛ ˛
# ˛ # ˛ # ˛ ˛ ˛ ˛ ˛ ˛
&
&
˛
Œ
#> ˛
#> ˛ ˛> # > ˛ #
> ˛
ff
J˛
Œ
‰
##˛
fp
# ˛
ˇ
ˇ
ˇ
ˇ
241
&
&
&
# ˛# ˛# ˛ ˛ ˛ ˛ ˛ ˛
cresc. poco a poco
‰
b- b ˛
J˛
.
mf
‰ j b- ˛
b ˛ .
˛ ˛
˛ ˛
# ˛ # ˛# ˛ ˛ ˛ ˛ ˛ ˛
˛
J
b˛
-
j
˛. ˛ b -
b J˛ .
j ?
b ˛.
# ˛# ˛# ˛ ˛ ˛ ˛ ˛ ˛
b bˇ
f
b> ˛ b ˛ .
b ˛ . b ˛ . ˛.
3
3
b ˛.
# ˛# ˛# ˛ ˛ ˛ ˛ ˛ ˛
˛
˛>
˛
b- ˛.
‰ J˛
mf
b > b- ˛ ‰ J˛
# # ˛ # ˛ ˛ ˛ ˛ ˛ ˛
b˛
˛. b˛
b˛
˛ ˛
b˛
˛ ˛
n˛
246
&
&
?
# ˛ # ˛ # ˛ ˛ ˛ ˛ ˛ n˛
b˛
f
b˛
b˛
>
n˛
˛.
3
Œ
b ˛ . b ˛ . b ˛ .
3
˛>
f
Œ
˛ ˛ b˛
cresc.
cresc.
n>
ˇ
nˇ
Œ
˛ ˛ ˛ ˛
˛ ˛ ˛ b˛
Œ
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Œ
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> ˛
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˛ ˛ ˛ ˛ Œ
Œ
b>
ˇ
bˇ
˛ ˛ ˛ b˛
B
˛ ˛ ˛ ˛ Œ
ff
Œ
˛
˛
˛ ˛ ˛ ˛
n>
n
ff˛˛
251
B
&
?
‰
j
‰
b˛
v b J˛ ^ ‰
˛
>
mf
˛ n˛
cresc.
&
˛
˛-
p
b -
˛
˛ ˛ ˛
sub.
b˛
n˛
b J˛ . ‰
cresc.
b
J˛
. ‰
˛ ˛ b˛
?
˛
˛-
-
b˛
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&
b˛
n˛
˛ ˛ b˛
j
bb˛ ‰
. ˛-
b
J˛
. ‰ n n ˛
-
˛ ˛ ˛
b˛
n˛
j ‰
# ˛ .
Œ
˛ ˛ #
J˛ . ˛
ff
# ˛ v
f
˛v
ǫ
˛
˛v
˛v
‰ Œ
Œ
Œ
PE066 – 35

Notes to the Critical Edition
Throughout the score, all indications of tempo, mood, expression and articulation are
editorial, with the exception of those in brackets, which are the composer’s original as they
appeared in the MS. Bracketed accidentals are editorial.
This edition contains two complete versions of the solo viola part. The first incorporates slurs
and fingering as annotated by Csaba Erdélyi. The second version omits these markings.
Viola
Movement I
37 Beat 4, 3rd note, and beat 6, 1st note: original note E6.
39 There are two different drafts including this measure. In the first, the first 5 notes of the
measure stand alone; in the second, they appear as below
&
# ˛ # ˛ # ˛ # ˛ ˛.
(con 8
#˛
Bartók uses parentheses in cases where he is pondering different options, and in this case,
he was possibly considering doubling the viola with another instrument.
68 The second triplet is crossed out but marked ‘marad’ (‘stays’), implying that the
composer’s final choice was that it should remain. The approach from mm.67-69 thus
contains seven beats. Throughout this section, several bar lines were crossed out; the
study of other of Bartók’s working drafts provide proof that he often re-arranged the
position of bar lines whilst working towards a satisfactory solution.
90 In the MS, the viola line continues for a few more notes, but these have been crossed out
and replaced on the staff above with the EÏ as it appears here. However, the number ‘8’
appears at an even distance between the crossed-out viola part and the top line of the
reduction. Bartók never indicated ‘8’ without either adding dotted lines or specifying ‘con
8’ (‘with one octave’) or ‘col 8’ (‘with more octaves’), so it is suggested that the solitary ‘8’
belongs to the deleted viola notes, which would have been playable an octave lower.
106 Last note originally GÍ5. There are visible traces in the MS that there was to be another
descending arpeggio following the sixth beat of this measure, but that the composer
erased it to maintain a measure of six beats for the sake of the canon taking place in the
orchestral part. Erdélyi has thus changed the last note of the measure to GÍ4 to lead more
comfortably to the AÍ3 on the first beat of m.107.
129–134 Harmonics are editorial; original note A6
151 F4 tied from preceding measure is editorial.
PE066 – 36

160–161 The last note of m.160 and the first 5 notes of m.161 appear in the MS as follows:
&
#
# ˛
˛
˛ n
B
˛
3
˛ # ˛ # ˛
Note that the accidentals against the lowest notes of the triple-stopped chords do not
line up with the notes. Erdélyi conjectures that Bartók, already thinking in the alto
clef, realised that FÍ3 would be unplayable with DÍ5 and B5, but that open G3 would be
possible with the octave E5-E6.
173–174 The two grace-notes in m.173 and first note of m.174 are editorial.
182–183 Double-stopped open A4 is an editorial suggestion.
240 In the MS this measure appears with a time signature of Bd, and the C3 is a crotchet. Bartók
may have originally intended to follow the first movement with a scherzo in Bd, but there
is no completed material in the draft for it. The second movement follows quite naturally
from this point.
Movement II
23 Harmonic on D5 is editorial.
68–76 Pizz. is editorial. The continuous four-part writing throughout this passage suggests
strummed pizzicato, the same technique as employed in the viola part of Bartók’s Sixth
String Quartet. In the earliest recording of the Concerto, which took place in Peter
Bartók’s New York apartment in 1948 with Burton Fisch (viola) and Lucy Brown (piano),
Fisch employed strummed pizzicato throughout this passage.
Movement III
7ff, 85ff Throughout this movement, the notation of trills and inverted mordents in the viola part
follows the MS. All accidentals, with the exception of the natural sign in m.7, are editorial,
based on analysis of Bartók’s principles of pitch organisation.
19–20 These two measures appear in the MS as below:
&
b˛
Ÿ
˛
b Ÿ ˛ ˛
É Ÿ
‘ b˛
˛
The execution of the first two notes of m.20 as harmonics is thus an editorial suggestion.
42 Comma editorial.
103 Fifth note in lower voice (GÍ4) is editorial.
125 The instruction ‘harmonics’ appears above this measure in the MS, but there is no
PE066 – 37

corresponding instruction to indicate for how long the harmonics should continue.
Erdélyi suggests returning to modo ordinario after m.151, or possibly at m.150.
183–184 Only the starting notes of the ascending scale passages are given.
185–187 M.185, last note and m.187, first note originally A6; harmonic editorial.
189–190 Only the starting notes of the ascending scale passages are given.
236–237 In the MS, these two measures appears thus:
&
É É
# ˛ ˛# ˛# ˛ ‘ ‘ # ˛ ˛ # ˛#
˛
This is the sort of impractical writing for the viola that Bartók had intended to discuss
later with Primrose. Playing the second four semiquavers of m.237 at the prevailing fast
tempo involves an awkward string crossing which sounds unsatisfactory in this final
frantic build-up. Erdélyi suggests that the desired effect might satisfactorily be created by
transferring these notes to the orchestra – most likely to the viola section.
Piano
Movement I
2–10 LH lower octave doublings are editorial.
17 RH minim appears in the MS as a crotchet on beat 4; however the preceding crotchet rest
on beat 3 has been crossed out.
18 Note above LH upper voice: “2 clar / 1 fag”, and in the MS this line is doubled at the
octave above and below.
23 Note above LH GÏ4: “cl.”. Note below LH lowest voice: “fag. is?” (“bassoon too?”).
53 LH tie from previous bar is editorial.
54–58 The piano reduction has involved condensing a 9-part texture.
In the MS, the lowest voice in mm.54 and 55 is still written in the viola staff. It is a strong
supporting line for the erupting tutti, and would be inaudible if only played by the viola.
The study of other of Bartók’s working drafts suggest that later in the compositional
process he might have assigned these notes to other instruments (bassoon or horn, for
instance).
55 Note above RH beat 1 B5: “trp.”. Note above beat 2.5: “vl.”. Note above LH beat 4 FÍ4: “cor.”.
68 RH beats 1 and 2 originally quavers; LH beat 2 originally a crotchet. Durations have been
doubled to accommodate the retention of the triplet on the second beat in the viola part
(see note above).
PE066 – 38

80 LH beat 2 B1 is editorial.
91–93 Some redistribution of parts has been made to effect playability. M.91 RH beat 3 lower
voice enters an octave lower in the MS.
110 RH upper voice lower notes (AÍ4, G V 4) are editorial.
110–111 Tie between RH DÍ4s is editorial.
111 RH first chord AÍ4 and DÍ5 are editorial.
146–153 Only the first two notes of the RH upper voice appear in the MS, with an indication that
the doubling of the lower voice is to continue.
157–158 m.157 beat 3 to m.158 beat 3 RH upper voice, upper octave doublings are editorial.
165 LH beats 1-3, doubling of RH is editorial.
166 LH editorial.
167–170 Editorial. The staves of the orchestral reduction were left blank, and Erdélyi has supplied
a variant of the material at mm.48-51.
172–180 Editorial. Again, the staves of the orchestral reduction are empty in the MS. An orchestral
tutti, different to and stronger than the equivalent passage in the exposition is required
here. Erdélyi’s solution here is similar to that of Serly, although 3 measures shorter,
conforming more closely to Bartók’s material in mm.52-60 of the exposition.
181–182 LH A1 is editorial.
193–195 LH EÏ2 is editorial.
200 RH lower voice one is octave lower in the MS.
219–222 LH octave doublings are editorial.
225 This measure appears blank in the MS, with ties extending into it from the notes in the
preceding measure. It is closed by a double-bar line, and a note above the measure,
apparently not in Bartók’s hand, reads “end of 1st?”.
Movement II
83 LH last note, G1 is editorial.
84–99 Editorial reconstruction. In the MS, the designation A appears at m.68, and B at m.77. The
orchestral reduction ends at m.84, a Bd measure containing the indications AB and ‘2 tr.
és corni’ with an octave sign beneath. A seven-measure melodic fragment follows. This
passage has thus been editorially reconstructed, with the melodic fragment added as a
counter melody to section B.
PE066 – 39

Movement III
1 RH first chord is editorial.
5–21 Editorial, with the exception of the RH in m.10, mm.15-16 and m.21.
16 The register of each of the 2-quaver pairs on the first and second beats is not specified in
the MS.
24–28 In the MS, both voices are in the same register. Thus lower voice has been transposed
down an octave for the purpose of the piano reduction.
25 RH first 4 semiquavers are editorial. LH, beat 2, 4 semiquavers are editorial.
26 LH first 4 semiquavers are editorial.
41–46 Editorial, following the first RH BÏ4 quaver in m.41.
47–49 LH doublings to first quaver of m.49 are editorial.
51–65 RH lower canonic voice and LH are editorial. Only the upper voice appears in the MS.
However, in sketches accompanying the draft the same theme is written out (a semitone
lower), with its imitation a beat
later at the lower fourth. The LH accompaniment is derived from elsewhere in the MS.
84 First chord appears in MS as a crotchet.
97–103 LH lower voice, lower octave doublings are editorial.
101–102 RH beat 1 of both measures appears in the MS as a crotchet.
112–114 LH doubling in mm.112-113 is editorial. RH last note of m.113, first note of m.114 upper
octave doubling is editorial.
198–203 RH upper octave doublings are editorial.
205–209 The first chords of each measure appear in the MS as crotchets.
218–226 LH lower octave doublings are editorial.
227 LH is editorial.
233 LH is editorial.
237 LH editorial; these notes appear in the MS in the viola part. See note above.
243–244 RH is chord (AÏ5, DÏ6, F6) is editorial (it is implied by the MS that the chord in m.240
should be tied until here).
247–251 LH lower octave doublings are editorial.
252–254 The first chords of each measure appear in the MS as crotchets.
PE066 – 40