Complete Piano Music Vol.3 (Preview)

Douglas LilburN Piano Music 3
VOLUME 5
Works for String Orchestra

Douglas LilburN
Complete Piano Music Edition
Volume 3

Douglas Lilburn Complete Piano Music Edition
Volume 3 (PEL03)
Nine Short Pieces for Piano (1965-66) © Alexander Turnbull Library Endowment Trust
Three Sea Changes (1945-81) © Alexander Turnbull Library Endowment Trust
‘Seven Short Pieces’ (1965-66) © Alexander Turnbull Library Endowment Trust
Sonata (1956) © Alexander Turnbull Library Endowment Trust
The copyrights of Douglas Lilburn’s music are owned by the Alexander Turnbull Library
Endowment Trust. Royalties from Douglas Lilburn’s music are paid to the Lilburn Trust for
the fostering and preservation of New Zealand music.
This Edition © 2014 Promethean Editions Limited
Publisher: Ross Hendy
Series Editor: Robert Hoskins
Music Editor: Roderick Biss
Music Typesetter: Ben Woods
Cover Image: Leo Bensemann (1912–1986), Rain in the Paradise Garden, Takaka, 1979,
oil on hardboard, 575 x 605 mm. Collection of Christchurch Art Gallery
Te Puna O Waiwhetu. Reproduced by permission of the estate of the artist.
Photograph: Douglas Lilburn Collection, Alexander Turnbull Library, PAColl-2547-01
ISBN 978-1-877564-62-8 (print)
ISBN 978-1-77660-523-1 (eBook)
ISMN 979-0-67452-126-0
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.
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Douglas LilburN
Complete Piano Music Edition
Volume 3
FOREWORD
Douglas Lilburn biography
Editorial notes
iv
viii
MUSIC
Nine Short Pieces for Piano (1965-66) 1
Three Sea Changes (1945-81) 11
‘Seven Short Pieces’ (1965-66) 20
Sonata (1956) 27
PEL03 – iii

FOREWORD
Douglas Lilburn occupies a pre-eminent position in New Zealand music, with a legacy extending
well beyond his compositional output. As a composer, teacher and mentor he presided in innumerable
ways over the artistic growth of New Zealand from 1940 onwards. From the early works redolent
of the influence of Sibelius and Vaughan Williams, to the electro-acoustic pieces of his later years,
his works have been instrumental in establishing a genuinely vernacular voice in New Zealand classical
music. In 2005 Trust Records launched the first volume in the award-winning recording series
showcasing all of Lilburn’s piano music, receiving ‘Best Classical Album’ in the 2005 Recording
Industry of New Zealand Music Awards and in the same year, Gramophone acclaimed that ‘[These]
performances and recordings are unobtrusively excellent.’
This edition is the third of eight companion volumes to accompany the recorded series and draws
on the expertise of Dr. Robert Hoskins of Massey University and Rod Biss, formerly of Schott
London, Faber Music and Price Milburn Music, who was instrumental in first publishing Lilburn’s
piano music in the 1970s. Having worked with Lilburn directly on these early publications, Biss has
now revisited original source materials in the preparation for this series. Together, the editors have
carefully considered and clarified Lilburn’s manuscripts and early publications in preparing these
volumes as both scholarly and practical editions for performance, and presented with the exacting
and elegant house style of Promethean Editions.
This collection does not generally include juvenilia, trivia, incomplete or rejected pieces/movements.
Exceptions are specified in the notes.
Biography
Douglas Lilburn (1915–2001) grew up on ‘Drysdale’, a hill–country farm bordering the mountainous
region at the centre of New Zealand’s North Island. He often described his boyhood home as
‘paradise’ and his first major orchestral work, Drysdale Overture (1937), written while a student
under the aegis of Ralph Vaughan Williams at the Royal College of Music in London, conjures up the
hills, bush and stream as primal sites of imaginative wonder. Recalling the impression of Drysdale
Overture, Lilburn wrote: ‘I’m left with that lovely Mark Twain image of Jim and Huckleberry drifting
their barge down that great river, looking up at the stars and wondering “whether they was made, or
only just happened.”’ At this time Lilburn wrote his Festival Overture and the Sonata 1939, together
with other works that expressed national pride: a cantata entitled Prodigal Country (1939), and the
Aotearoa Overture (1940), which has become a New Zealand classic. Although these works were
written in his student years, their content, style and general confidence reveal Lilburn as an achieved
artist.
Returning to Christchurch, Lilburn banded together with an innovative group of painters, poets and
publishers who were to prove influential. Settings of Allen Curnow and Denis Glover, for instance,
resulted in two iconic works: Landfall in Unknown Seas (1942), a voyage of spiritual discovery for
narrator and string orchestra, and the song cycle Sings Harry (1953), the musings of a middle-aged
bachelor who, returning to the mountains where he grew up, begins to reassess and evaluate the
course his life has taken. Two more works, an orchestral tone poem A Song of Islands (1946) and the
PEL03 – iv

Chaconne for piano (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.
Nine Short Pieces for Piano (1965-66)
In 1967 Lilburn presented pianist, friend and colleague Margaret Nielsen with a folder of piano
pieces labelled ‘Crotchety at 51!’ The composer asked Nielsen to ‘please see what you can make
of these.’ The result is this quite extraordinary sequence that can be conceived as an extension of
the Sings Harry settings of Denis Glover’s poems. Both speak of a bittersweet point of balance at a
moment between youth-just-past and age-about-to-come, and each communicates awareness that
all human experience is finally put into context against the power and beauty of the natural world.
Nor is it difficult to hear the thrum of Harry’s guitar from the outset and the dry tone of his voice.
Space and distance and large tracts of time are part of the landscape: there is a perceivable tidal flow
to No. 5 while No. 6 may reflect starlight; the transparency of No. 7 suggests a tranquil pool of clear
water while the central pedalled passage of No. 9 breathes the air of Bartók’s summer-night music.
A particular fascination is how each piece brings out specific qualities of sonority and timbre within
a precise shape to hold it in place, thus anticipating Lilburn’s electro-acoustic music.
Three Sea Changes (1945-81)
Steeped in memory and washed in brine, these pieces celebrate a passionate engagement with the
natural world and a continuity of human effort in the trace of transition – in the face of love and loss.
The title derives from Ariel’s song ‘Full fathom five’ in William Shakespeare’s The Tempest. In a letter
to William Norris Rogers (1985), Lilburn says that the inspiration of the first piece was Brighton
Beach, near Christchurch, ‘exuberant and sunlit but with a tolling undertone’, that the second was
directly ‘from Paekakariki – a more expansive view’, and that the third was ‘quiet as befits an evening
piece … its rhythms have a timeless quality of plainchant.’
The Three Sea Changes were written at different periods of Lilburn’s life: No. 1 in 1945 (initially the
only one called ‘Sea Change’ and recorded as such by Margaret Nielsen in 1945), No. 2 (a Prelude)
in 1950, and No. 3 in 1972. By 1981 the composer had entered a period of looking back at earlier
works and revising them. It was then that he gathered the three pieces together under the collective
title Three Sea Changes. Margaret Nielsen prepared them for performance and the first of them was
recopied and revised by the composer.
PEL03 – v

‘Seven Short Pieces’ (1965-66)
This set comes from the same folder as the Nine Short Pieces, the composer stating in an appended
note: ‘The Nine Short Pieces were culled from this lot.’ This statement must not be read as Lilburn
thinking that those nine were the best or that the remaining seven were not so good. When Peter
Zwartz (who was then at Albert & Son) persuaded the firm to publish a selection of them Lilburn, in
consultation with Margaret Nielsen, chose the pieces that seemed to make sense as a group. Nielsen
later pointed out in an interview with Alan Wells (Music in New Zealand, Spring 1989), that ‘the
order was such that the end of one piece naturally prepared for the beginning of the next’ although
she admits that it was only afterwards that she realised that. In other words, far from ‘culling’ from
the set, Lilburn seems actually to have chosen them very carefully.
Combining neoclassical and serial techniques with impressionism, these seven pieces juxtapose
compressed motivic diction with the linear counterpoint of Bach and the sensuous language of
Bartók’s ‘night music’. Numbers 6 and 7 (No. 6 is marked ‘attacca’), for instance, can be conceived as
a ‘prelude and fugue’, while at the same time evoking the pictorial interface of a sparkling lake and
sliding river. The way Lilburn ties a crotchet to a dotted minim in No. 6, rather than writing a semibreve,
conveys as successfully as possible on a printed page that this must sound like an introductory
improvisation to the following fugue. Lilburn provides no dynamic markings to the fugue but we
would suggest a quiet beginning to initiate a gently intensifying imitative process. Lilburn’s initial
slurs on the triplet runs in bars 2 and 3 and then the longer phrase curling down to E are a good
indication of the motion he wanted to create. One point about No. 7 is that Lilburn does not repeat
the intervals of his theme exactly when it appears later, transposed, and we have drawn attention to
these changes in the notes below.
Sonata (1956)
Allegro non troppo
Allegro vivace
Moderato
The composer’s programme note for this work reads:
This Sonata may reflect some transition of style and also some stress of moving from the South Island
to what proved to be a congenial new context of Wellington and its coasts. There are three movements
as befitting any sonata and their unfamiliar patterns may reflect changing circumstances. In the midforties
my Christchurch friend and colleague Frederick Page once complained to me: ‘Why don’t you
write music with charm, as Lennox Berkeley does?’ But the Lennox charm was anathema to me, as
my testimony now sounds. Rather I wanted a harsh rhetoric and sombre inscape, both gained from
my experience and its analogy with the coasts, something that the painter Colin McCahon vouched
for. I hope listeners may accept a rather grim first movement, along with the wayward wave-spun
rhythms of the second, my coastal substitute for Viennese waltz-time, and then relax into some resolutions
offered by the final movement.
This sonata provides an outstanding example of Lilburn’s ‘orchestration’ of piano colour and his
sensitive balancing of tonal relationships. Powerful linear rhythms convey to the listener a sense
of nature’s force and energy throughout, while Lilburn’s interest in the subtle inter-relationships
PEL03 – vi

etween mountains, sea and sky can be seen as part of a broader interest in what it means to be
a New Zealander. Lilburn’s reference to the word ‘inscape’, coined by the poet Gerard Manley
Hopkins, indicates that the sonata is conceived in terms of sense impressions and special patterns
that are the outer expression of the inner essence of the landscape he contemplates.
Margaret Nielsen premiered the sonata, initially composed in 1951–52 and revised in 1956, in a
broadcast performance on 7 November 1980
Robert Hoskins, Palmerston North, 2014
PEL03 – vii

Editorial notes
Nine Short Pieces (1965–66)
The copy-text for this edition is Lilburn’s holograph in the
Alexander Turnbull Library (fMS-Papers-2483-044), with
reference to the first edition published by J. Albert & Son
in 1969 (reprinted by Price Milburn in 1985).
In all Lilburn’s piano music he has a particular liking for
small ‘hangover’ ties, which are a ‘laissez vibrer’ (l.v.)
effect, most often used when there is a harmony or a single
note that he wants to be held while a flourish of notes
or more active part writing occurs above.
One The l.v. effect described above occurs in the first
bar of this piece and reoccurs several times.
Lilburn does not indicate the pedal, but it is the
obvious way to achieve the required ambience.
Two The metronome mark on the composer’s ms is
Ó = 108, however later copies have it marked at
116. We have presumed this to be Lilburn’s preferred
marking.
Three Lilburn provided no dynamic marking for this
piece, the editors have suggested π.
The composer’s manuscript lacks a number of staccato
dots which appear in the first published edition
(Albert Edition). We have presumed that they
were added by Lilburn at this stage indicating that
the piece calls for crisp, light playing.
Five Lilburn’s metronome mark was Œ = 50, but on
account of the many dotted crotchets, the editors
have changed this to ‰ = 100.
Six Lilburn’s metronome mark is Œ = 96. Performers
may find it easier to work with a crotchet tied to a
dotted crotchet mm of c38–40.
Seven Although Lilburn has adopted the general 20th
century concept of accidentals applying only for
the indicated note at that pitch for one bar, he has
in this piece added a few cautionary accidentals;
the editors have kept these in place.
Eight Lilburn’s ms has no dynamic, the ∑ which is
printed in this edition was added later, probably
with Lilburn’s agreement.
Nine R.H. Bars 28–33 are slurred in the Albert Edition
but not in the composer’s ms. We have preferred
to respect the original version, however, the editors
believe Lilburn’s intention was to suggest use of
the sostenuto pedal at bars 22-23, 34-35, 36-37,
44–47 (or maybe to 49).
Three Sea Changes (1945–81)
The copy-text for this edition is the revised holograph in
the Alexander Turnbull Library (fMS-Papers-3982-02),
with reference the earlier original holograph of the first
piece entitled Sea Change (MS-Papers-2483-018). Minor
differences from the earlier original holograph are noted
below.
1 sempre ritmico replaced with sostenuto,
ritmico is moved to bar 5 in the later ms.
1 Below L.H. clef con ped. omitted.
4, 10, 28, 46; See note regarding the small hangover tie in
Nine Short Pieces above. In the first Sea Change,
in both the 1945 original and 1982 revision, he
extended the slur from under the lower E in bar 4
and all similar places. We have not retained this
but have substituted conventional ‘hangover’ ties
indicating the laissez vibrer effect that we believe
Lilburn intended.
8 (and similar passages) In his earlier ms Lilburn
wrote the grace notes before the barline but he
moved it to the conventional post-barline position
in his revised copy.
20 Crescendo hairpin omitted.
21 R.H. Tenuto line over E omitted.
21, 22; Diminuendo hairpin for two bars omitted.
31 R.H. The octave leap of the first two notes (FÍ-FÍ)
only are slurred.
34 Has cresc but omits the hairpin crescendo over the
next two bars.
37 Ped indicated to be held for two bars omitted.
39 ƒ marking omitted.
PEL03 – viii

41 marked dim without the indicated π at bar 43.
46 marked ππ, one bar later than in the revised ms
where he also repeats the ππ at bar 47.
64 The phrase mark over this bar is extended to the
FÍ in bar 65, with the B to B octave in that bar
then phrased by itself.
66 Marked ƒ rather than ∑.
68 L.H. both notes (E and G) are crotchets rather
than minims, the bar filled out with a crotchet rest.
69, 70 Both have Ped indications, then senza ped at bar
71, followed by Ped indications at bars 73, 85, 97,
98, 111. None of these appear in the earlier ms,
and in the revised ms they all appear to be a later,
possibly pencil, addition to the ms, but as they are
in the composer’s hand we have retained them.
76 Marked ƒ rather than ∑.
77 R.H. 2nd beat has no staccato dots on quavers.
85/86, 97/98; The slurs over the first two notes and staccato
dots in these bars have been altered by the
editors to match bars 73/74. (Lilburn’s revised ms
has a slur over the complete bar and no staccato
dots.)
104 L.H. The accent on the 2nd beat is not present in
the earlier ms.
105, 106, 107, 108; L.H. Accents on minims not present
in the earlier ms.
111, 112; The earlier ms has a short slur from the L.H.
upbeat in bar 111 to the chord in bar 112, with the
long slur starting from the high accented E in Bar
112 and ending after the first four semiquavers of
Bar 113. The semiquavers from 113 to bar 116 are
then phrased in groups. Lilburn’s pedal indications
in the original ms follow his indicated phrasing
precisely.
117, 119; Indications for whole bar to be pedalled are
omitted.
126/127; In the earlier ms the ∂ marking is at bar 126
(not 125).
This piece makes a continual play between C major and
A major tonalities, and the composer trusted the pianist
to understand this. He did however add one cautionary
natural to the C in bar 120 as it comes directly after a CÍ;
we have retained the cautionary accidental. In all other
cases the accidentals apply only in the bar and at the
pitch written.
II Prelude
Essentially this piece comprises a series of chords
with two florid lines above the chordal background. In
Lilburn’s manuscript parts come and go and occasionally
move from stave to stave and the composer was not
concerned to fill bars out with rests. The editors have,
however, added rests according to normal music notation
practice.
3 The brackets around ππ are in the ms.
‘Seven Short Pieces’ (1965–66)
The copy-text for this edition is Lilburn’s holograph in the
Alexander Turnbull Library (fMS-Papers-2483-044).
As already noted accidentals apply at specific pitch for
that bar only. However, Lilburn has added some cautionary
accidentals where he has thought there could be some
doubt. We have kept Lilburn’s added cautionary accidentals
in place and added some others where it might aid
sight reading.
Three
21 Fh time signature added (ms has it in brackets).
22 Eh time signature added (it is clear that this is
intended).
Seven
Lilburn has seemingly given himself some liberties in
later appearances of the fugue subject. The editors have
left these as in the ms, but performers may like to look
at the following three appearances and decide for themselves
whether to make the questioned change:
19 top part last crotchet should be DÍ?
20 top part 3rd beat should be EÍ, DÍ, etc?
24 middle part 3rd beat AÍ?
PEL03 – ix

Sonata (1956)
The copy-text for this edition is the first edition published
by Waiteata Music Press in 1995, which Lilburn
proofed, with reference to the holograph in the Alexander
Turnbull Library (fMS-Papers-2483-076).
1st Movement
6, 156 Lilburn’s ms has the grace notes before the bar
line. We have moved them to the usual position
after the bar line just before the anticipated notes.
What Lilburn’s writing makes clear is that he wanted
the main chord, rather than the grace notes, to
be played on the beat.
37 This is the first of many bars where a slur moves
from a low L.H note to a high note in the R.H. In
the ms Lilburn has drawn a slur through the stave;
we have adopted a simpler slur underneath the
R.H. The effect Lilburn is seeking is of a broken
chord arpeggio.
69, 70, 73, 74, 76; Lilburn’s short ‘hangover’ ties on the
second beat show that he expects this chord to be
held by the pedal as though laissez vibrer.
2nd Movement
The performer should note that Lilburn has indicated
very precisely where the pedal goes down and where it
is released. For example the BÏ crotchet of bar 1 is not
held, the pedal is depressed on the second beat. Lilburn
only indicates pedalling on the first page of this movement,
but when this music is recapitulated at bar 109 one
can assume that Lilburn intended it be pedalled the same
way.
28 L.H. In the ms the first crotchet in this bar has
both staccato dot and tenuto mark. We have deleted
the tenuto mark cf all other appearances of this
motif.
68 The brackets around the accent are the composer’s
own and he is presumably reassuring the performer
that the first beat of the bar should be accented
in the normal way.
71 A tie between the E semibreve and crotchet,
though not in the ms, has been added cf all other
appearances of this idea.
above the R.H. are in the composer’s ms and can
be taken to indicate rhythmic groupings.
3rd Movement
13 L.H. In Lilburn’s ms the run starts with a third (C
+ E). As it is clear in the ms we have left it, but
performers should consider that on all other
appearances of this run it is one note only, the E).
94 A treble clef is omitted from the ms, but is clearly
intended here.
112 Accents in the RH are omitted from the ms.
Although we believe they were intended, performers
might like to give consideration to bringing the
LH into prominence.
Rod Biss, Auckland, 2014
Publisher’s note
In the early 1940s Douglas Lilburn established what
become lifelong friendships with a number of artists, writers
and poets in Christchurch who, along with Lilburn,
were instrumental in establishing a genuine vernacular for
the arts in New Zealand. Notable among this circle were
Lilburn’s close friends and fine artists Rita Angus and Leo
Bensemann, both of whom shared an exchange of artistic
influence with Lilburn. Care was taken in the Recorded
series to present Lilburn among his contemporary artists
with each volume featuring a selection of Bensemann’s
landscape paintings on the cover along with paintings by
Rita Angus inside the full-colour booklets. Similarly, we
have chosen to feature Bensemann’s Rain in the Paradise
Garden, Takaka on the front cover of our series of publications
to provide a sense of unity with the Recorded series.
The Publisher gratefully acknowledges the assistance from
the Alexander Turnbull Library, Rod Biss, Guy Donaldson,
Claire Harris, Dr Robert Hoskins and financial support
from Massey University in the publication of this edition.
Promethean Editions, Wellington, 2014
73–74, 81–82, 91–94, 101–103; The square brackets
PEL03 – x

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O
X C. Y C. X C. Y C. X mp C.
Y
lento
O
S
Y
CC O
CCO
SO
#
p
CCC
C
W C
CC
C
CC O
CCO
CCO
C O
?
PEL03 – 2

B
-
S
R
B
-
S
A
S
C
C
S
g
C
g
C
g
T
T
g
C
B
S
g
C
T
T
CĊ
h
C
B
g
C
g
C
B
C
C
g
C
C
T
g
C
g
C
C
C
C
B
C
g
g
C
C
C
C
C
C
C
B
B
B
C
C
T
T
C
C
g
C
T
C
C
S
CĊ
h
B
C
C
T
C
C
g
C
C
C
T
C
B
g
C
T
C
R
g
C
C
T
T
C
h
g
C
C
g
C
g
C
B
C
C
C
h
g
C
T
C
CĊ
T
C
T
T
C
C
3
= c.138
C
! 4
3 W 5
8
2
4 4
3
5
8
4
6
C O C W C Y Y X W Y
C O C W C Y Y
[ p]
# 4
3 Y T 5 S g T T 8
2 S g T 4 4
3 S S g T 5 S g T 8 4
6 . C.
W . X . C.
6
! 4
6 R O S g
W . T S
5
8 Y C C Y C
O
. T S S
2
4
5
8 4
6
4
5
O O
Y OY C X C B O O
mp
-
# 4
6 T g W T 5 Q 8
2 S g 4
5 T T 8 4
6 S g T Y 4
5
W
C. .
C.
C.
. Y
W . Y
T S T h
Y .
11
O . .
T T
! 4
5 O
4
3 5 8
4 5 8
4
C W
C O C W Y Y A C O C W C Y Y
mf W . p
# 4
5 W .
T C
h T S 4
3 S S Y T 5 S g T T 8
4 S g
5 8
4
C.
. C.
C.
W .
W Y T
. . C.
16
R O S g
! 4 5 8 4
5 W . T
5
O
8
C C W C Y Y O
g
W C
C Y C
C C
poco accel.
Y C C C C Y C
# 4 5 8 4
5 5 Q Q
8
C.
W .
W Y T T T S g W
. . C. W
C.
.
21
ritardando
C C W C C eva
a tempo
W C C C C C C C C C W C C C C C CC
! 4
3
fp
O W Y Y
C p
# Q C C
O C
C C C
O C C #
!
S g 4
3
C.
T T S g
C.
B-O O B
T
W
W .
g
C.
T S
S
PEL03 – 3

#
#
T
R
h
B
T
T
S
T
T
S
T
S
T
T
B
g
h
h
h
T
T
T
T
S
h
g
T
T
h
R
T
B
B
T
T
S
S
S
T
R
h
S
R
S
T
g
h
T
#
R
S
S
>B
h
R
h
T
T
#
C = c.160
marcato
?
!
T T R C Y C C T g T R
C. Y C .
C
fḟ
C. X C
C Y C
> .
. C.
ff
C. C
4 f
>.
# T C
W mf C C
W C . T W C
. . X C
W C C
. Y C
. C
Y C
. Y C Y C ¯
> C.
> C.
3
! S
p
# B O
W COY
C
B O C W COY
C
C
C.
Y C .
Y
CO
C
B O
B O Y C
C .
.
CO
W C
Y C
Y C . B Ċ Ċ
CO
C C C C Y C
C
C
f marcato
!
Y
C
C
Y C C g
C C
Y C
Y C.
C h
Ċ T C.
C
fḟ
Y C .
g
C. Y C > .
C Y
>
Y
C
T S
C.
g
C.
sf
T R
7
g
C
mḟ
T S
C
mṗ C .
C
p . C . C .
8
!
12
!
!
A
mp
CO
d
g
Y C
Y B B B
Ċ Ċ Ċ
h
Ċ
g
C.
C C C
Y C. Y C.
g
C .
p
B-O
Y
C . T
A
A
W C
CO Ċ T
g
C . T
g
C . T
Ċ C W . Ċ
Ċ T
Ċ
Y C. Y C.
O
O
BBO
O
eva
>C
Q
!
CO
W C
Y C T CO
C
C T S T
h
p
S B- B C C
>C
mf cresc.
Y C > C > ff
S S S
W CO
>C
g
C
C
!
W C.
C
17
!
C
#
Ċ
h
Y CO
g
C.
Y C
C
C
f
CO
C
g
W C.
C Y C.
h
C
mp
C.
g
C
g
W C.
Y C.
C. h
C
mf
C.
g
C
g
W C.
Y C.
C. h
g g
C. >C C
sff >C >.
T S C > Y C
>
Y
C
C.
PEL03 – 4

g
C
C
C
B
g
B
C
h
d
g
C B
C
B
C
B
C
C
C
h
C
C
C
C
C
C
C
C
C
B
B
C
C
-B
B
B
C
C
C
C
C
g
C
h
B
C
B
C
C
C
C
C
C
C
C
C
B
C
g
B
B
C
C
g
C
C
C
C
C
C
C
C
C
C
C
CC
C
C
C
h
g
C
h
C
C
C
C
C
C
C
C
C
h
h
C
B
C
g
C B
B
B
C
C
C
C
C
h
C
C
C
C
C
C
C
C
C
C
h
C
C
C
5
5
C = c.100
C C C C C C C C C C C C C
# Y O
O Y O O O Y O
68 5 8
9 8
12 8
p sostenuto
# 68 5 8
9 O
O
8 O
Y
O O W Y Y
Y O
Y
12 8
# X O O Y O C C Y O
Y 128 7 8
5 8
3 -
8
9 8
# 128 7 8
5 8
3 8
9
C 8
C C O O Y Y Y Y Y C Y C C Y C Y Y C Y C Y Y
9
# 98
X - O O C O B C O C Y O O X
7 8
5 8
9 8
15 8
13
18
# 9 7 8 8
5 8
9 8
15 8
C C O C C C C C
Y C Y C W C C C C C C C C C
B O O C
O
C C C C
# Y O O O W O O W C O C W O O
15 6 8 8
5 8
9 8
5 8
mf
p
# 15 8
6 8
5 8
9 8
5 8
Y Y O B O C C
O O C C W C C C C C C
W W O C O
W
O
W O
O
ev`
Y O C C O C Y O
# 5 8
8 ! 21
g
8 O X C C C C C C 12
C C C C C C C O 8
mf mp dim.
# 5 8
8 21 8
12 8
Y Y Y Y Y X C Y C C Y C C Y C Y X W C O O C C O O
21
! 12 8
9
Y O
8
mf
- Y -
O
O
# 12 RO
T 8 C C
9
C C 8
C
Y O mp
Y
B OY
C O C C Y C
C C Y O p
Y
Y
O
O
O
PEL03 – 5

C
C
C
C
C
C
C
T
C
S
C
S
C
C
C
C
d
C
C
C
C
C
C
C
C
C
C
C
C
g
C
C
C
>C
C
C
C
-C
C
C
?
g
C
C
>C
C
S
C
C
C
C
C
T
C
g
C
C
C
C
h
C
C
C
>C
C
C
g
C
C
C
h
g
C
C
C
>C
C
C
h
C
C
C
C
C
C
C
C
h
C
C
C
C
C
C
h
C
C
C
C
C
C
-C
C
C
C
C
>C
C
C
C
C
C
C
C
C
C
C
C
C
C
-
C
C
C
C -
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
S
C
T
C
C
C
C
C
C
C
C
C
C
C
h
C
-C
C
C
T
C
C
C
C
C
C
C
-
C
C
C
C
C
C
C
C
C
h
C
C
C
C
C
C
C
C
C
C
-
CC
C
C -
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
6
7
!
!
C = c.96
O
! 5 8 S O
p
! 5 8 W C -
W - C
W
C
C
W C C - C C W C
-
O
O
O
W
O
O
O
C
C
W C
-
O
O
W C C - C C W C
-
-
C O
7 C-C O
8
5 O
8
mp
7
¯ 8
5
W
C C W W W W C - C W C W 8
W
W
W
O
C O
C C - O
O O O
O
W C
-
W C C - C C W C
-
C O C - C O
O
O
p
W C C C C
-
C
W C C - C
-
C
W C C W C
O
W
C C
W
13
19
g
O
W C
W X C O
! 7 8
5 W
W - W - 8 W O
W
C
W O
O
CCO 7 8
mp
p
O
! 7 8
5 8
7 8
W
W
W W C W C W C O
X C C C
W
C C C C
W
C C O
-
g
W C
W X > C C C C C C C O
g
C C>g
C C > g C
C
C C O
! 7 8
3 8
5 8 W 6 8
5 8
mp
mf
! 7 8
3 8
5 8
6 8
5 8
W
W
W W C W C W C O
W C
C W
W
O
O W W W W W O
W
W
C C > C
C>C O O
C C ?
25! > C
C C > O eva
7 8
9 C C 8 O B B
O
f
! 7 #
8
9
8 !
W
W
C C W C
> C C > C W W > C C > W O p
C
W W
W
W
X C
O ¯
W B
? ?
30!
5 W 8 C W
7 5 8 8
7 8
5
W O C T C - O
g
O
C O C O C-O O C C O
O
8
pp
mp
! 5 7 8 ¯ 8
5 8
7 8
5
C C C
8
W
C C O
W
W
C C W W W W - p
O
W
W
C C W W W W W O
¯
5
8
5
8
PEL03 – 6

#
#
#
#
d
B
B
B
B
d
B
B
B
B
B
#
Ḇ
#
#
B
B
B
B
B
B
#
7
3
! S
C
! S
p
W
C
C
= c.84
C C
C
W
g
C C
CO
C W C
g
CC
C C
C
C
O C
W
S
C
W
C C
C
CO
C C C C C g
C
C
O C
C C
X C
C C C
CW
C
C B
Y
CC
C C C C C C C
C
W
C
W C
h
X C
h
CO
!
C W
Y C Y
C
C
W C
C
W C
g
Y C
C
>
C
C
W C
sim.
!
g
CC
CO
B C X C
CC
C C C CY CO C B
C g
C C C C
5
Y
C
C
C
Y
Y C
C
Y C
C
g
Y C
X C
g
C
W
g
C
W
CO
X
C
Y
C
C
X C
C g
Y C
O
!
> Y C
Y C
Y C
Y
C
C
C
Y C
C g
Y C
O
!
!
C Y C
C g
C
C C CW
C
C
g
C C C C
G
C C C C C C C
W
C
T S S Y CC
C CW
C
C
!
Y
C Y C Y C
Y CO
C C
O C
C C C C C C B
T
X
C
C C C Y C
O C
6
! S
!
W C
W
C
C
g
C
g
W C
>
C
Y CC
C C CO
O
C g
C
C
S
g
CC
C C
Y CC
C C CO
O C
W CC W
W C
Y C C
g
Y C
g
Y C
C
>
X B O
X S W C
B>
C
C
g
C
g
W C
>
O
>
C
C
O
!
!
CC
C C C C Y CO
C C C C C Y CO
C C C
Y C -
C
W
C
W
B O
PEL03 – 7

#
#
#
C
h
A
A
AAA
B
B
B
C
C
g
C
C
h
C
C
C
C
C
A
g
C
C
h
C
g
C
C
C
A
C
h
A
R
C
h
C
C
g
C
C
h
C
C
C
C
B
C
C
h
C
B
C
C
C
C
B
B
BB
C
C
R
h
C
B
B
C
C
C
S
C
A
AAA
B
B
B
C
AAA
C
S
S
CCC
C
8
C = c.120
O B C C B B B A
! 4 C
[ mf]
# 4 R S C B
C O C C B O A S W C
p
C C
O
6
! C C C
O
g
C
g
C
W
C O A C C B C C
f
C O A C S S C O
C C C C Y C C A
W C C B O
W C C C B O
12
! R
p
# S C
C C
C O C C C Y B
W
W
g
C
g
C
W
C O B C W C
p
C O B C Y C
W C Y BBOO
WX
C C A W AA
mf
Y BB Y
W O C C
XY C
18
!
CCC C
mp
# C C Y
C
W
Y
O
O
X
X
p
W
C O B C W C
B O C Y C
W
Y
W W W BB B
Y
Y B B Y B
Y
Y
BB
Y B B Y B
Y O
BBO
YY O
X
W W C C
f
Y C C
C
AAA
B
-
B
-
24
!
? AAA g
¯
p
g
Y C
Y
Y C C g
C C
S B C S C C Y C
g
Y C
Y
C Y C C g
C C
W
X
g
Y C
Y
W
C Y C
W
f
W BBOO
O
Y B O C C
29
!
W BBOO
O
Y B O
C CC
CC
C
W AA AA A
- - p
B B A S C
Y A AA ¯
?
C C C O C C C Y B C C
W
g
C C C C C B O
W A C W C B B O
PEL03 – 8

#
#
B
S
B
B
C
h
B
g
C
C
C
T
h
C
C
S
C
B
B
T
B
-C
h
g
C
B
B
B
S
B
CCĊ
h
?
¯
S
T
h
C
h
C
T
B
B
h
T
C
S
B
B
BB
B
C
h
C
B
B
g
C
B
B
B
C
B
h
C
T
h
C
h
S
T
T
9
= c.138
! 4 3 O
p
.
# 4
3 S Y C C
T S S
CĊ
C T S
g
g
C C B C - C -
C
W
Y - B B Y B X
G
O W C . Y C . Y . X B
B BB O S S
.
Y C C
6
! C C - C -
C C
g
C.
O
G
Y C . C .
C. X B
# Q Q S S
.
Y C C
O
g
C
G
Y C . C .
C. C C
Y S Y B
O
g
C
G
Y C . C .
C. C
11
!
O
Y O
C B O
g
C
X B C W C C W B
O
O
B O
C C B C Y O
W . W W C C CĊ W .
C W
T S W C C W . W
T S S W C C
CĊ
C
17
! C
g
C
W B B
B
Y
X
Y C CC Y
g
C
Y C. Ċ
G
W B B
B
Ċ X B
Y C CC Y
g
C
Y C. Ċ
G
W B B
B
Ċ B C Ċ Ċ Ċ Ċ Ċ
Y C CC Y
X
Y
O
BBOO
S
>.
CC
g
O C C- C- B
C
C C C W C C W B
f
> .
# Y CC
C T S Q Y O
Y B B B S
!
O O
O B
22
!
PEL03 – 9

#
B
B
B
B
B
B
B
B
B
d
>
B
B
B
B
T
B
B
#
B
B
T
T
B
T
B
B
B
B
#
¯
28
!
!
S
g
C.
T
C C C C C CX C C C W C C C C C C C C W C C C C C C CW
C
Y > O C Y B B
Y C
>
BBO
O
Y B
> C W C
C
f
O
C C W C
O
?
G G G
S S
X C C C.
. .
C .
C . C. C C
C
g g
C
C B
CO
C B BBOO
C . C . W C . C . W C
p
. Y C .
S
# Y O
O B O
S
g
S Q
O O
O O W W C
.
34
!
40
#
B
B B B
B
B B
BB BB
BB BB
# Q Q !
X C C C C C O
Y C S C
Y C
Y CY
Y Y C
Y C Y C
Y C
p
cresc.
K
f g
g
S
g
S X C
C
g
X C C
S
Y C Y CY
C
W W
C
O
.
O
!
B B Y C O B O
Y BB BBO BBO C
X C C B
C C C T CO
g g G
g
C
h
C Y C
C
. C . C. B C
ff
S
mp
g
g
! Q C
#
X
B C Ċ Ċ Ċ Ċ Ċ Ċ S T S S Y ĊC
T S
Y Y B
O
C.
h Y O
46!
S Y C
G
Y C. C . C. C
53
! C
S
g
C
G
Y C. C .
C. C O B
Y B Y C
Y O C Y B
g
C
X
O
B O
C WC
?
B O
C C
O
O
p
C Y ĊC
g g
!
Q ?
h
T S S Y C
Y C C
. C.
PEL03 – 10

!
C
S
B
BBB
C
S
C
!
C
C
CCC
B
C
C
!
C
C
C
C
C
C
g
C
S
B
S
!
Three Sea Changes 1945-81
Moderato = c.88
# 24 C C B C C C B
!
pp
1
sostenuto
# 24 B B
B
B
B
B
B
B
C C C C C C W C W C C C C
p ritmico
W B B W B W B
B BB BB
8
14
!
#
#
22
#
#
W C C S C
W
pp B B B
B
B
#
C C B
C #
C C W C C C C C C
W BB B
CCC
B
B
29
! W C
p
W
# WW BB
B
W BB B
W C W C C C W C C C
p
W BB
WW B
W C C C W C
W W BB B
W BB
WW B
C C
W
B
B
pp
B
B
W
W
WWW BBB
C C C C C C C W C W C C C C
p
W B B W B W B
B BB BB
C C O C
W
W W BB B
W
B
B
W C C C W C
C C C C C C B
B
B
W C C C
WWW BBB
C
C
#
W C C
pp
W C C C W C C C C W C C C
W W BB B
C
C
C
C
W BB B
C
C
B
B
B
B
C C C
34
!
C C C C
W C C
C C C C C C W C C C C
mf
W BB W B
B B B
C C C
W C. C.
# W BBB B
Q
#
C. C. C.
PEL03b
Three Sea Changes © Alexander Turnbull Library Endowment Trust
This edition © 2014 Promethean Editions Limited PEL03 – 11
ISMN 979-0-67452-126-0

-BB
T
T
d
B
39
#
#
C. C . C .
Ċ Ċ C - C B B BB B - B B
B
B
g
C
C.
g
C
C.
B
B
B
B
p
B
B
B
B
pp
B
B
B
B
!
!
47
!
!
W C
pp
W B B W B
C
C C W C
W B B B
CW
C
G
C C
W C
W C
W B B W B
C
C C C W C
W B B B
C C CW C C B B
W BB B W B
B B
#
#
53
#
#
B B W C
!
p
B
B
B
B
!
W BB W B
C
C C
W C
W BB
B
CW
C
G
C CW
C
W C
W BB W B
C
C C
W
C
poco cresc.
C C C
C
W C
W BB B WW B
BB
C
C C C
60
!
W C
C C CW C C C
C C C
W
C
C C C
C
W C
C
C
C
C W C
C CW
C
W C
C
C
C
! W BB B
W B
BB
W BBB
W BB W B
W BB
B
BB W B
66
!
!
C
mf
W C C C C W C
dim.
C
C
C C C C
BBBB C
C
#
#
p
C
Ċ Ċ C
C C
Ċ Ċ C
pp
C
C
Ċ Ċ Ċ
senza pedale
Ċ
72
#
#
Ċ Ċ Ċ Ċ
Ċ Ċ C Ċ Ċ C Ċ Ċ C
! C
cresc.
C
mf
C C C C C C C C C C
O
C C C C CC
C C C C
W > C
h
W
C>
C
C C
W CĊ
cresc.
C
C
Ċ C
!
PEL03 – 12

BB
B
T
T
B
BB
BB
C C
W C C W C C C C
C CW
CW C Ċ Ċ Ċ Ċ W CW
C C C
G
f
! Q #
W W C C CC W W C C C CC W C W B
78
!
# C
Ċ . C.
C . C .
C . C . C .
Ċ Ċ
B
B
84
#
#
C - C
g
C
C.
Ċ Ċ C Ċ Ċ C -
! C W C
C C
g
C
C.
mp
C
C
C C
CO
CO
C C T W C C C
W C C W C C C C
!
W g
C >
W B B B >
W W B B B
C
C
W C C C C C
90
!
W C
C C CW C C C
C C C
C C C W C
C C
C
C C C
C C C W C C C C W C C C Ċ W C .
!
W BB B
W BBB
BB
B
BB
BB
W BB
B
BB
B
#
96
!
#
102
!
107
!
C
B
BB
C
C
C
W C C C C
! C W C
{eva}
C
C
C
#
C C C
mp
C
C
W C Ċ Ċ C
C C
Ċ Ċ C
C
> C W CW C Ċ Ċ Ċ C
W C
C C C CW C C C
C
!
W C
C
C
mf
C C O
C
C
C C C
C C C C C. C C. CW CĊ ĊC W C
C C C C
C>
C
C
C
W > C
h
C
C
eva
C
f
C W B >
C> BB
W C
C ! C
C
W
C
B
BB
C C C CW
C
G
W >
C C C CW C C C C C C C > W > W >
! W W
BBB BB B COC
O C Q
>
d
C>
C
C
C
W C
C C
C
C
C C C C
PEL03 – 13

#
#
S
-
BB
B
-
S
B
B
-
-
-
B
B
B
-
S
S
-
B
B
B
-
S
S
B
-
S
B
B
S
S
B
B
B
S
S
S
-
#
-
B
B
-
S
?
?
-
B
B
-
S
113
!
{eva}
C C C C
loco C C C C C C C C C C C C C C C C C C C C C C C C C C C C C
ff
! Q Q # S Ċ W C . Ċ B B
B
C
C
118
!
# B B
B
C C C C C C C C W C C X C C C C C C C C C C C W C
B
B B
B
BB -
B B B -
B B
B
C
C
mf
B
B
C
C
124
# C
130
#
B
B
C
dim.
C
C
C C C
C
C
C
B
B
rall.
BB
B
B
B
C C C
BB
B
B
B
ff
B
B
C C C CW C C W C
C C C C
C C B BB
B B
B
B
B BB B B B
B
B
B
B
B
B
B
B
B
B
sff
B
B
pp
2
B O= c.72
! 4
3
h i
p -
# 4
3 i BB
h
O
B O
O
B O
O
C
pp
C C
C C C C C
CO C C C C C C C CO
O O
O
B
BBO
O
O
B BBOO
O
8
! O
# BB O
O
C C C
C C C C C
CO C C C
O O
C C C C
O C
O
BB B O
B W BBOO
O
O
BB O
BBO
O
C C C
C C C C
CO
W C C C
O O
C
PEL03 – 14

#
#
#
B
B
B
B
B
B
BB
S
S
B
B
BBB
S
B
B
B
B
S
S
S
B
B
B
B
B
B
B
S
S
B
B
B
S
B
B
B
S
S
B
B
S
S
S
S
S
S
S
S
B
B
B
B
B
B
B
S
S
B
S
B
BB
B
B
S
S
#
15
! C C C C C C C C C O W C C C
B O BB O
# B O
BBO
O
O
B O
C C C C C
CO C C W C C C C C CO
O O
O
21
! BB C C C B O
# B
poco cresc.
C B
C
O
O
C C C
C C C C
CO
C C W C
O O
C C C C CO
O
BB
C C C B O
B
B
C
C
O
O
C C W C
27
!
CW
C
CO
C C C C C W C C
O O
C C C C C C O
C C C C C O
C C C C C O
C C C C
O S O
C C
C C C W CO
S O C C C W CO
S O C C C W CO
O
O C C
cresc.
32
#
ff
C
C
O
O
O
O
C
C
W
B
B
W
W CW C C C W W C BB C WW BB
O
O
dim.
C
C
W W C
BB C WW BB
W B O C B
W B O C B
W W C
BB B O
!
39
! O
p
O Y O Y
W O
YY Y
Y O Y B O
O
Y C C C
pp
Y C
CO
CY
C C C C Y CY
C
O O
CY
C
C
O C
O
Y
BBOO
Y O
YYY O
Y O
46
! S O
# BB B
O
O
O
C C C
C C C C C C C C
CO
C C C C C C C C C
O O
C C C C CO
BḆ
O
O
O
O B O Ḇ
O
C C C
C C C C C
CO
C
O
C
O C C
PEL03 – 15

#
#
#
B
B
B
B
S
B
B
B
S
S
B
B
BBB
S
B
S
B
B
B
B
S
S
B
S
B
B
S
B
BB
B
B
B
S
S
S
B
S
B
#
B
B
B
B
S
B
B
B
B
S
B
B
S
S
S
B
BBB
S
B
B
#
S
S
BB
52
! C C C C C C C O
O
# B O B O
O
C C C
C C C C C
CO
C C C C C C C C C C C C C
O O
YYY O
C C CY
C
Y C
CY
C
57
!
Y C
Y C
C B
O BBO
!
Y C CY
CY
Y YY
O
CY
CX
C
CY
C
Y
C
Y
C
Y C
C B
BBC C C Y C
C CY
C
Y
C
C C CY
C
cresc.
C C C Y C
Y
C
C C C Y C
C C C Y C S C C C
C
62
!
69
#
# Y C
C
C
C C Y C
BB
O
W
B
B
W
Y C C C C C C
W C
O
O
C
B B
X O
O
ff
C
C
W CW C C C
C
C
O B O B
W
B
B
W
O
O
C
C
W
B
B
W
WW C
BB C W B B
O
O
C
C
W C BB B O
B
B
W
dim.
p
O
O
O
O
O
C
C
W
B
B
W
WW C BB C W W B B
O
O
O
O
O
!
C C C
WW C
O
C C C C C C C C
W CO
C
O O
77
!
# O
BBO
O
cresc. poco a poco
B O
BB O
O
C C C
C C C C C C C C C
CO
O
O
W
O
O
O
W C CW
C
W
C C CW
C
CO
W
O
C
C C CW
C
O
W
C
C
W CW
CW
C
O
W C C CW C CW
C
83
!
W
C
C
W CW
C
O
C C C C W C C C
C
C C C CC
O
C C C C C C C
C
ff
O
B O
C C C CW
C
C C W C
C C C C W C
C CW
C
C C C C
PEL03 – 16

#
#
#
#
#
#
B
B
B
S
S
B
B
B
B
B
S
B
S
B
B
B
S
-
B
BB
B
B
B
B
B
B
B
S
S
-B
-B
B
B
B
BBB
-B
S
-
BB
B
-
S
S
S
#
B
B
S
eva
87
! W C C C W C
C C C C C C C C
C C C C
CO
CW
C
O
C C
O
C
loco
C C C C C C W C C C C C B -
O
-C
-
- C
B
B
g
C
C
-
g
C
BB O
O
f
C
C C
92
!
C C C CW C
CO
C C C C C C B C C C C C C C O
O O W B O
dim. B BB BB B
O
B C BBO
O
C C C C C C C
O W C
C O
C C C
O
98
! C C C B C C C C C C C C C C C C C C C C C C C B C C C C C C C C C
W B O
B B O
W B O B B O
dim.
103
!
C C C C C C C C C C C C
- C
B B O B B O B B O
pp
- - S
C C
C C C C C C C C C
B C
B C C C W C S O C C C W C O
C C C
cresc.
109
!
W
C C C C C C C C C C C
S O C C C W C O C C C
molto cresc.
O
O
ff
C
C
W CW C C C W W C
O
O
C
C
W
B
B
W
BB
C WW BB
114
#
O
C W B
C W B
dim.
W W C BBO
O
O
O
W C BB
C W B
C W B
O B O B
O
O
W C BB
C
C
p
BB
O
B
B
BBO
O
BB O
W - WW
O
W BBO
O
W B B-? O
W BBO
O -¯
PEL03 – 17

#
#
#
S
S
B
S
B
g
h
S
S
h
B
S
B
B
B
B
B
#
B
B
»
˘
»
˘
BBB
B
S
B
B
-BBB
g
B
h
B
B
B B
B B
BB
BBB
»
˘
B
B
B
B
B
B
B
»
¯
˘
3
!
g
C
C
mp
O
= C CO= c.84
C
C C C
O
C C
C
CO
C C
O
O
C
C C C C C C CO
C C CO
CO
C C C C B CO
O
O
?
3
! C C C C C C C C C C B B O
p
# C O
B B C O CB C O
-CO
mp
O
-CO
CO
C
C C C C C CO
mf
d
C C C C C C C C
C C C C C C C C
5
!
C
O
O
CO
B O
O
BB
O
CO
C
BBO
O O
CO - C C C C B O COC O C C C C C CO
C O
p pp
C C
COO
! C BB
O
C
C C O C C
C
C C C C C C
CO
C
O B O B
O
7
!
C
O
B B O
# C C C C C C CO
O
O CO C
O
CO
C C C
O
BB O
C C
O C C C C
CO
CO
O C
B BBO
O
O C C C C
C- O B O
C
O
O
S
C C
BB B BBOO
O
BB B BBOO
C C C C BB
O
pp
C C C C C O
!
C
O
O B O BBO
C C C C C C CO
C
O
p
C
O
cresc.
C
C C C C C C C C C C C C
C
CO
CO
C CCOO
B BBOO
C C C C C C CO
f
O C
BB BBOO
B
O
!
PEL03 – 18

BB
C
C
C
C
BBB
B
B
BC
C
B
B
C
B
C
B
B
B
C
C
C
C
C
C
C
C
C
B
Ḇ
C
C
C
C
C
C
»
C
C
C
C
B
C
B
B
C
C
C
C
C
B
B
C
C
C
CC
C
C
B
C
B
BB
B
B
B
C
B
B
C
C
C
C
B
Ḇ
C
»
C
C
B
B
B
B
B
B
B
B
BBḆ
C
C
C
C
»
10
!
!
BB B O
f
O
-
O
-
#
CC CC O
CC C-O
BB BB O
BB O
p
CC O
˘
C C C C C C C C C B O B
BBO CC C C C O B O
-O
mf
SO
C- O
CC O
C C C C C C O
!
#
f
C C C C C C C C
C C C C C C C C
C O
SO
mf
C O
B O
SO
BB
O
C- O
O
!
C CCO
O
CC
O
CCO
O
CC
O
O
f
C O
BBOO
O
CC O
#
g
C
O
BBOO
O
O
ev`
13
CCO
pp O
B B O
C C C C C C
˘
O
SO
p
O C O C
! SO
C C
O
O C
C C
O
O C
C C
O
O
O C-
O C- C C C C C C C C C C
# CC O
BB O
C O
CCO
B O
BBO
B B O
O
S
C
CCOO
-
B B B BBOO
14
! C C C C C C C
p
# SO
h C C C C C C C O C C C O
SO
C C C C B C O C C
O
O
SO
O C O C
SO
CC O
C C
O
BB O
O
O
O
O
SO
O C O C
! SO
# CC O
C C
O
BB O
O
C CCO
O
C C
O
B BBO
O
O
C C
O
O C O CCO
O
O B O BBO
p
C C C C
O
O
O
O
˘
PEL03 – 19

h
CC
C
C
C
-
B
C
C
CC
h
C
CĊ
h
Ċ
C
C
CC
C
C
C-C
h
C
h
C
CC
C
h
C
C
C
C
C
C
C
C
C
C
C
C
C
C
-
CC
h
C
C
CC
C
C
C
C
C
C
-C
C
C
Ċ
C
C
h
C
BB
CC
C C
h
Ċ
C
Ċ
CC
C
B
C
Ċ
h
C
Ċ
C
C
CC
Ċ
C
C C
h
C
C
C
C
C-C
h
C
C
-
C
C
C
‘Seven Short Pieces’ 1965-66
C = c.88
! 4 Y B CC- O
mp
! 4 S T g
C C . . W C.
1
marcato
5
9
!
!
! C.
#
12
!
!
16
#
20
#
YY - C
O
p
g
T C.
T
Y C.
Y C .
X CCO
Y - C O
X C - C
g
C.
T TW C
C .
C. . h
T
OW Ċ W C .
Y O C W C.
CCC - C
C. C.
! g
C W .
#
PEL03c
XY CC-
T g
C W .
C.
C.
C O C C.
Y CC
h
X C .
T
X C C Ċ C > C C C Ċ C > C AA B B W C R
mf
Y . Y O C W C C . .
T
Y OX
W C . .
T
Y OX
W C C . . C C Ċ
. .
Y C .
CCO
#
Y
O
f
W C .
Y .
T
X Y .
>C
C
OX
W C . C .
ĊCA > A BB
O
Y C . Ċ Ċ Ċ Y C . Y C . Y C.
W C . X C.
Ċ Ċ
T
O
p C
Y . C T . C .
‘Seven Short Pieces’ © Alexander Turnbull Library Endowment Trust
This edition © 2014 Promethean Editions Limited PEL03 – 20
ISMN 979-0-67452-126-0
!
TW mf C.
Ċ Y C . C
Y ḍim.
X . Ċ
Y C . W C . TX C . C
h
C.
T
C O C Y C Y O X C
-C
O YY - O Y -CC O
X C- C
mp cresc.
T
X OW Ċ Ċ g
#
!
T C T g g T
C. W Y C
. .
T g T
C. g
T W .
C. C.
C. C.
>C Ċ
C Y C
>CC Ċ C > C
C C Ċ C
C>C
#
h T S T g S g T T g S S Y C
ff
pṗ
C. C.
g
p
W .
#
OX
W C C
. > W C C C C T S T W
W .
S
ĊCĊ T W B S
. > C. >
X S T
Y Y C .
. S
Y C C
-
W C.
!
g
X > .
Y C
> . C
G
pṗ
W .
T W
GC
T
T
Y
f
O
d
g T T
C. C.
ĊCĊ C Ċ T
!
O
W
CCg
C .
O
W
T R # g
p
S
Y O
C.
ev`
T T h
!
Y .
TW C.
h Y
CC O
Y C. Ċ Ċ W C. Ċ Y B-
#
mp
S
O
W C.
g
X BB
O CC- O
cresc.
C O C
C.
X
g Y .
T W .
Y
#
!
C O C
O

#
#
A
S
B
BBB
R
B
T
>
R
T
B
B
h
T
h
T
B
h
h
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PEL03 – 21

#
?
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eva
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PEL03 – 22

B
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PEL03 – 23

#
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PEL03 – 24

#
#
B
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PEL03 – 25

24
!
#
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PEL03 – 26

C
CCC
S
S
B
C
C
CC
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h
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Sonata 1956
6
! 4 4
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eva
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# R S C W
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PEL03d
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Sonata © Alexander Turnbull Library Endowment Trust
CC
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This edition © 2014 Promethean Editions Limited PEL03 – 27
ISMN 979-0-67452-126-0
X CC
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23
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27
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#
PEL03 – 28

C
S
T
S
A
A
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T
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45
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47
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Y
C O C C C C C O
C C C X C C C C O C C C C C O C C C W C C C C O C C C W C C- C O
#
! T
Y
-
Y C C C CC C C
C
C
C
C
-
W C C
C
C
C
C C
C
C
C
C
C C
C C W C
W C C C
W
C
PEL03 – 29

B
B
T
S
C
CC
C
T
B
>B
B
C
C
C
C
T
C
C
>CC
C
C
C
C
C
C
C
>
CC
S
C
C
CCĊ
C
C
C
C
CC
C
CCĊ
CCĊ
CCĊ
CCĊ
CCĊ
CCĊ
CCĊ
C
C
CCĊ
C
T
C
Ċ
CCĊ
CCĊ
C
C
C
C
CC
CCĊ
C
C
T
T
CCĊ
CCĊ
CC
C
>C
CCĊ
C
CCĊ
CCĊ
C
C
CCĊ
C
C
B
B
T
T
C
C
CC
T
C
C
>BB
B
C
C
C
C
CC
C
T
C
C
>
CC
C
C
C
T
T
Ċ
C
C
C
C
Ċ
61
#
!
63
!
O
C-W
C
W C C
C C.
g i
W
#
CC W C C . C>
# C C
Ċ C
Ċ C
C C U T
W . C . CC C ĊC ĊC ĊC ĊC TU
T C W C - C C C C W C
>
W C
W . C . C W C >
U T
C C. C C.
ĊCC W .
C
Ċ
C
C
C.
C
C.
C
C.
CC .
CC .
CC .
C C W C >
C C C .
Ċ
C
Ċ
C
C
C.
U T
C TU
C>C .
U T
#
W
O
cresc. poco a poco
C
C
W O C C C C W C
>
-
C
C
C
C
C O C C C
W
g
C O C C W C
W
W
W
g
W
W
!
!
65
! C W C
#
C
C
W C . C C W C. C C C TU
>
Ċ
C
Ċ
C
C
C
U T
C C. W C C .
ĊCC W . W
CC.
Ċ C
CC.
Ċ C
CC.
W C
C
>
. C . W W C C .
Ċ C
C C
> C W .
U T
CC.
W C. Ċ
W C C.
CC
C . X CC>
W C. Ċ W CC
> W C.
C . C .
W C C C. C.
U T
CC.
Ċ Ċ W C. Ċ
CC
C
. X
X C C
>
X C.
U T
!
67
!
!
ĊCĊ C ĊC Ċ C Y
C > CC
CC. C C. C C. C C. CC >
ĊCĊC C > C ĊC ĊC ĊC ĊC Y C.
Y C C C . C C C.
C CC.
C.
CC
C.
CC
C.
CC
C.
CCC.
Y CC > C
Y > C C Y C
Y C.
CC
Ċ
CC
eva
CCĊ Y C.
C Y
Ċ
C
Ċ
C
Ċ
C
Ċ
C
Ċ
C
Ċ
C
ff
C
C
#
Y
Y CC
C
!
C
C
C
C
h C
C
C
C
C
C
C U T
C C C U T
70
!
!
74
!
#
{eva}
C
C
C #
CC T
!
Y
Y C
Y C
!
O
W C W C > O
#
C
C
C
C
C
C
C
C
#
!
h C C C C C
Y C
Y C
Y C
C
C
g Y C C C Y C
Y C C C Y C
Y C C C C Y C
h
!
Y
C>C
C
CC
C
eva
C
C
C
C C
W > C W C
Y > C
Y C
C
C
C
C
C
C
C
C
Y C
> C C C C C
W CC
C
C
W
W C
C
h
W g
W W C C
g
C
Y
Y C
g
C
C
C U T
U T
g
C C
Y
Y
g
C
C
W > CC
W C
C W C > CC
W CC
C
C
g
W C C
h W C W W C
W C
h
X X >
O
#
CC O
W C W C
W
g
g
W W C C O
W
g
W T W C W C > O
Y C C C C Y C
h
Y g
Y
C
C
C
C
C
C
Y C
Y C
X X >
O
g Y C C C
Y C C C
Y C C C C
h
#
#
Y
CC O C>C Y
h C
g
Y
PEL03 – 30

C
C
C
C
B
C
C
C
h
g
C
C
B
C
C
C
CCCC
C
h
g
C
C
h
CCCC
CCCC
C
C
C
C
CCCC
g
C
C
C
C
C
C
CCC
CC
C
B
B
C
C
C
C
h
C
h
g
C
CCC
CCCC
CC
AAA
C
C
C
CCC
C
C
C
C
C
C
C
h
B
B
C
g
C
T
CCC
g
C
B
C
h
CCC
h
C
C
C
C
B
C
C
T
C
CCC
C
C
CCCC
C
B
C
C
BBB
C
g
C
C
C
C
S
C
C
C
C
B
g
C
C
C
CCC
C
C
C
C
g
C
C
C
C
CCC
C
C
g
C
g
C
C
C
78
#
Y C >
O
# Y >
O
C
C
dim.
C
C
C C C C Y C
C
C
C
C
C
C
Y
C C
XW - W O
W C C C C CC
h
g
XW W
W - O X C
W
CC
C
!
Y
O
Y C C C YC
O
W W C - O
g
W C C C
p
Y
O
espressivo
W C C C W C CC
83
!
Y
g
Y C
C- Ċ Ċ Ċ X -
X
h
C
Y C
# W A
C AA CC
87
! C
#
YYY BB
Y B
g
C
C-O
C O
C-
C
C-
C
C-
C
g
C
C
C
O
O
C C- Y
O
O C- Ċ Ċ Ċ Ċ Ċ
W C C C C CC
h
g
W C
O
W
- h
C
C
W
C
C
W
Y A AA Y
CC C
O
CC O
C
C
g
C C C C C X C
W C C
W C-
C.
C X CCO
O
W B O T
g
W
W Ḇ C C W C X
- - -
W -
X
X
X O
CC W
Y C X X CC W CC B-
C W C BB
C
C.
C
C.
C
C.
X -
O
O C O
CCO
Y
-
g
C
O W
- h - - C -
CCC-
91
!
#
W
C
C
W
W CCC
W C
W C
Ċ
C
O B O BBO
Ċ
C
Ċ C-
C C
X -
X
C-
C
O
O
CCC W - W CCO O
Ċ
C
Ċ
C
Ċ
C
C-
C
W CC C
CC C
h
W -
W
C
C
W CC
C
W BBO B O
C-O
W O
C-
C
X -
X
C-
C
C
C
W W C -O
B
B
W CC
C
C
95
!
#
W CCC
C
C
BBB O
X C C C C C-
C C C C C
C-
C
C-
C
C
C
C
C
X C W -O
C
C
C
C
C
C
W CC
C
C-
C
C-
C
C-
X CCC
C -
C
C-
CCC
C-
C
C-
S T g
C
C- C C C
B
B
Y
Y
Y
Y
f
sub.
OY
O
Y
Y
Y
Y
!
99
!
!
Y
O
Y
T O
Y
hj
Z C C C Y C C C C C C C Z C C
Z C C C C Y C C C C C C Z C
Y
Y
ZY CC
Z
Y C C C Z C C
Y C C C Z C
Y Z CC Y C
Y
Y C C C C Y C
#
Y
Y
PEL03 – 31

jh
jh
S
T
jh
h
g
h
h
h
jh
S
h
T
S
R
101
!
#
X C
X C
Y CY
C
Y CO
f
Y CY C C
!
O
Y CO
Y CO
eva
Y CY C
C Y C
Y C
C
C
C
C
C
C
Y C C C C Y C
Y
C Y CY
C
Y C Y C
C C C Y C
C C C Y C
Y C Y C
Y C Y C Y C
Y C C C Y C
C C
#
Y CY
CY
C
Y C Y C Y C Y C
103
! Y COC
O
CO
#
Y C
dim.
C
g
Y C
CY
C
CO
O
CO
g
C
T
Y C C C- C-
C Y
C C C C C B S C
Y C C C C C C C
C
X CO B Ḇ C C
p -
X
X C
Ḇ Ḇ
106
! C
C
C C C B C
C
C C C
C
- -
C
#
110
!
#
C- Ḇ C C C C
C
C-
C
CY
C
B-
B
C C C C C
I
C CY
C
C
C
-
C O
C- C
O
C
C
C C C C C C C
C G
C
C
C- CO
C- Y COC
O
C
C
C
C
C
C-
B
Ḇ
C C C C C C C C C C C C C S
C
G
C
C
p - C C -
C C C- C C- C T
C
G C-
C C C C
G
C C C C C C C C- C O
h
C O
C C T
! S T U
C C W -
C C
C
C
C
C
C
C- C O CY C
h
C O
C C Y C
C
114
!
C- CO
W -
C C
CX
C
W CX
C
C CW
C
X C
C - C - h
C- U T
Y C
C-
C
C O
X C
W CO -
C O
X -
Y C C
C W C
C C CW
C
X C
C
!
C C C C
C
R S U T
W C
C
C
C C C C
CW
C
C
C
117
!
C TU
TU
! U T C C C
W CO -
C C O C C - CO
Y C C Y C C C C C
C
C- C O
C W C
W -
W C C T S T O X C
hj
C
C
W C C C CY C C C
Y W CX
C C
C- CO
C W C
Y C
C
C-
C
C
CO
Y CX
C C
C
C- C O
C Y Y C C
C
PEL03 – 32

S
h
T
T
jh
h
120
!
C- C O
W CO
C
- X
CO
CW
CX
CY
C
CY
C
Y C C S O
C C- C
C O
Y
C
C- C O
C C- C
CO
C- C CO
Y
C
!
C C C C
C
C
C C C CW C
Y C C
CY
C C W C
C
Y C C C C X CX
C C C W C C
123
!
!
C-
C
C
125
! TU
#
A
A
C
C-
C Y C Y
C
W X - C
C
C C
C
C
C - C
C-
C
!
C-
C
C-
C
C CY
C
C
C-
C
C-
C
C-
C
C-
C
C-
C
C-
C
C-
C
C-
C
CW C X C C C CY
C
C C C CY
C
#
C C C C
U T
f
Y
CY C C Y C X W CY
X CY
A C
A
CW C
U T
#
U T
C
C
!
Y CY
C Y C
A
A
C
C
Y C
C C C W C
C
!
X C C
W C W CY
X C Y C
X C
C Y C
C CX C Y C Y CX CY
CY
C
C
C Y C
C C Y C
C Y X C W C C
CY
C
Y C
CY
C
Y C
C
U T
X C Y C
CY
C
#
#
127
! YY C
#
C Y
CY
C
C C Y C
CY
C
CY
C
Y C
X C Y C YY C
O
C Y C
C C
C
X C CY
CXW C
C W C
C C C
dim.
C C
C Y C
X CY
C
O CO C
C
C C
C
B
C C C
C C C C C
129
! T
p
# C
W C
Y C - CO
C O
C C C C C - C C C C CW
C
B
C CO
X C- CO
C C CW C C C C C C C C C T C
B T C C - C C S Y CO
Y C CO
!
C C C C
Y C- C C C C
Y C
C C
B
132
!
!
C CO
T
C C C C C CO
C C - CC T
C C C
C C C C
O C
C C C
U T S
C C C C W C C O C S T
Y
C
C C C C C
#
C
W C
C O
C- CO
C C C C
C
C- W C
B
C C C CW
C
PEL03 – 33

C
C
C
C
C
C
C
C
C
Ċ
C
C
C
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
C
C
C
S
C
C
C
C
T
C
C
C
C
CC
C
C
C
T
T
C
T
C
T
C
C
C
C
C
C
C
C
C
C
C
C
CC
C
C
C
T
T
C
C
C
>C
C
h
C
C
C
C
C
C
g
C
>
CC
C
C
h
? g
C
C
C
T
C
C
C
135
! T W C W
mp
# W C
W W
W C
!
W
W
W C C W W C C C C C C C C > C X C C
CCĊCU T
W C C W W C C C C W C C C C C U C> C .
#
p
X
W
O
C-
C
C
O
C
C
C-W C C W C C C W C
B
B
137
T C ! W
#
mp
W
W
W
W
W
!
W
W
W C C V W C C C C C C C C
C
W W > C C
W C C W W C C C C W C C C C W C C U
> W C .
C C W W C C C C W C C C C X
h
W C
C W
C C
C C
f
C
C
C X
h
U T
W g i
W >
O
O
O
U T
C X C>
Y ? O
Y O
O
U T
U T
139
! T
!
W
p
W O
C-
C
C
O
X
Y
Y C - C C C C Y C C
#
X C
B T
B
Y
C O C C C C C O
Y
C- C C C
C C C X C C C C O C C C C C O C C C W C
C
TU
S T W C
W
W
C U T S
W
142
! C W C O C C C C W C
# T C
C-
C
C
C
C
C
W
O
W C C C
W
W
O
W C - C O
C
C
W
W C C
W C C- C O C C C - C X C
O W
W C C
X
O
CCO
W C - C O C C- C C C C C. C.
C
C C
C
C
CCS
145
! W C
# T
W
W
cresc. poco a poco
CC.
W .
CC.
Ċ
C
CC.
Ċ
C
CC.
Ċ
C
CC W C >
CCC.
C
C
> C.
U T
U T
W
W O C C C C W C
-
C
C
C
C
C O C C W C
W
W
W
W
147
! C W C
#
W C.
cresc. poco a poco
C.
W C C C C >
C. W C
.
O
ĊCC W . W
CC.
Ċ C
CC.
Ċ C
CC.
W C . C C> . W W C C .
Ċ C
C C TU
> W C .
CC.
W C. Ċ
W CC.
CC.
W C. Ċ W CC
TU
> W C .
CCC
X >
C . C .
W C C C. C.
CC.
Ċ Ċ W C. Ċ
CC
C
. X
X C C
>
TU
X C .
!
PEL03 – 34

B
C
C
C
C
C
C
C
C
C
C
T
C
C
C
C
C
CC
C
C
C
C
C
C
CC
C
C
C
C
C
CC
C
C
CCCC
CCC
B
CCC
CCCC
CCCC
C
C
B
B
CCC
CCC
C
C
C
C
T
T
C
C
C
C
C
C
CCC
C
C
CCC
CCC
CCC
CCC
CC
CC
CC
C
CCC
C
CCC
C
C
C
C
CCC
T
C
C
C
CCC
C
C
CC
C
B
C
C
CCC
CCC
C
C
CCC
CCC
CC
C
C
C
C
CCC
C
C
CCC
CCCC
B
B
CCCC
>C
C
C
C
C
B
B
CC
B
B
BBB
C
C
CC
CCC
CCCC
S
CCC
CCCC
149
!
!
152
!
!
156
!
!
CCC C C C C C
C
Y CC
CCC C C C CC
C Y C C C CC C C
W W CCO
W O
W C
C
W C
W CCO
O
O
C
C
C
CCOO
O
eva
X C Y >
X C Y
h
X
h C
eva
h
CCC C C C C C C C C C C C YC
C C
C
C
Y C
> C
Y > C
Y C
C
C
CC O h C Y C
> C
C
C
C
C
C
C
C C
C
C U T
C C C C U T
C
C
C
C
C
C
C
C TU
B
B
B
B
C
C
#
g
W C
C C C C U T C C
>C
>C
C
CC
C
W W C C
W C
W W C C
W C
CC Y C
Y C CC
C CC
Y C C Y C
C CC
W W C C
W C
h
g
W C C W
C
C
C
C
C
#
!
W C
W C
h
W C
W C
h
C
CC
WW W W
O
eva
CCC Y C
C Y C
eva
h
W > C
W C
C C C C C C
C C C C C C
WW W O h C C
> C C C C C
W C C -
W C C
W C
W C
X > X
C
X -
X
C
C
g
CC
C
C
C
C
C
C-
C
W
C
C
C
C
g
Y
C
C
Y
CC W C
ff
B
B
B
BB
W C C C
C
#
#
C
C
Y CCOO
Y O
g
C
W C C
W C
W C W C CC
W C C
W C
C
W C C C C W C C
CC
C
W C
W C
h
W g
W
W C C
C C C
C C C TU
C
C
C
C
C
C
U T
!
!
160
!
-
Y C CC C-
CCC T W C-
W
# C
Y C
C -
CC
C-
W C
W C
C-
h
g
> Y
CCOO
Y O
CC
C
CC
C
CCC>.
C
CC
C>.
W C
W C
h
W g
W
C C C
C C C
C
C
C
C
C
C
Y C
Y C Y
B
BBO
O
h
Y C
Y C T Y C
h Y C
Y g
Y
C
C
g
C
C
C C- Y O
O
h
Y
dim. al fine
164
!
#
Y
Y AA
Y AA
C
C
Y C
Y C
Y g
Y
C
C
g
C
C
W WW CCO
-O
O
g
W
W W CC
W C
W C CC
C
X A AA X A
C
C
Y C
Y C
Y g
Y
C
C
g
C
C
CC C-O
O
WW
g
168
! BBOO
Y OO
#
C
C
Y C
Y C
Y g
Y
C
C
g
W CC
C-
g
BBOO
Y OO
C
C
Y C
Y C
Y g
Y
C
C
g
W CC
C-
g
W CC
C
C
C
CC O
O
Y C-
Y C
Y C -
g
C- C W CC
C-
g
C
C
B
B
S
PEL03 – 35

C
B
B
> C
C
C
C
d
C
g
C
C
T
C
BBB
g
C
CB
B
C
B
g
g
C
C
CC
C
C
CC
C
C
h
C
C
g
CC
g
C
h
h
g
CC
h
C
h
S
C
C
C
C
C
C
h
C
C
C
C
T
h
g
C
S
Ċ
h
C
C
C
h
S
S
S
5
Allegro vivace = 168–176
Y > >
C C
g g
C C C
Ċ
= C
! X
C. C .
p
C.
C.
C. Y C
# Q Q
X
g
C C C C C C C > . C - C T g
. C C C C C
C - C.
C-
C ĊC
>
Y C
C C C.
g
!
C. C . C
C C
f mf . . . Y C C C C C C C C C C > . C - C .
S
C Ċ
mp W - p
C ĊC
# Q
A
A
-
II
Y C -
C
C.
C
C Y .
C
> C C Ċ Ċ Ċ
10
! C Ċ
16
!
Ċ C > C C Ċ Ċ Ċ C Y C . Ċ C > C C Ċ Ċ Y C .
T C Y C C C Y C
mp
# C C
Q C C C
W W
Q W Q
-
-
-
Y > >
C C
C
C C Ċ W C. W C . W C
W C W C
. .
.
Ċ Ċ Y C C C C C C > Y - Ċ
C Ċ C- Ċ Y C
mf
f
# Q Q Q
!
CCC
C-
CCC
C.
S CC Y CC-
C C C
CCC
C.
#
21
! T
C. C.
mp
# O
O
27
!
!
C C
O C O C
C-
g
C. C. C
C
C
C- C - C- CCO O
W BB C. C. C.
B
B
B
O
.
O
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W O
C- CCO O
C. C- C. C. C.
!
C C
lightly
-
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O
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Y
C C
C C C C- C- C C C C
CC O
CC BB C O
.
C T
g
C.
O C O C
W CC O
T # C C C C
O C O C
C C
O C O C CC BB B
C C C
X C O CC
C C C Ċ C-
PEL03 – 36

C
h
C
C
C
T
T
g
C
B
C
h
>
C
C
>
g
C
T
C
h
h
g
C
h
g
C
> C
C
T
C
CC
h
g
C
C
CCCC
h
C
C
CC
C
C
h
C
C
CCCC
T
C
g
CC
C
h
Ċ
h
B
g
CC
C
h
Ċ
h
T
T
C
T
T
h
g
C
CCCC
C
g
C
C
C
C
>
CCC
g
C
C
h
CCC-
CCC
h
T
T
g
C
C
g
C
h
h
C
Ċ
h
T
C
h
C
CCCC
C
C
>
CCC
g
C
g
g
h
T
T
T
C
T
Ċ
h
g
C
h
C
T
T
h
g
C
Ċ
C
S
C
h
C
>
C
C
>
C
h
g
C
h
h
g
C
T
T
CC
h
S
g
C
C
32
!
36
#
C CCOO
# C C C C
#
C Y CCOO
cresc.
CCC C C C Y C > C
C
C
C
C
C
C
Y C C Y C> ĊCT
C.
C CCOO
CC W C
C CCOO
C C C C C C
Y
Y g
Y
T B
B
O
!
!
C-
C
>
C>C
G
CĊC T C>CC C C C ĊC T C C C C C C C C Y C >
g
C.
Y > C C
> Y C . T
#
f
C
>C
C
C
C
C
C
C.
C
C
C
C
C
C
C
C
Y
C
C
Y >
T # C > C C C C C ĊC T C C C C C C C C C
#
C
>C
C
C
C
C
C
C.
T C
C
C
C
C
C
C
C
Y > C
Y C C Y C> C
>
C
C
C
>
ĊCT
C.
ĊCT
C.
41
#
#
Y
Y g
Y
B
B
O
!
!
Y C
> C > C
G
C>C g
Y C
g
C.
Y
C C C C C C C - CC
Y
Y C-
CC-
C C > C > C
G
C-
Y
Y
C C C C C C C - CC
Y
Y
C-
CCC-
C-
46
!
!
Y C
> C > C
G
Ċ T
Y
C C CC CC C- C CC- C C > C > C
G
Y
Y C-
C-
C g
C.
Y
g
C C Y CC CC X CC CC C>
C.
#
Y
C C
> C
C.
W - O
CCO
W -O
CCO BBBmp
Ċ Ċ Ċ Ċ C-
BBB-
Ċ Ċ Ċ Ċ C-
52
!
#
C- CCO O
X B-
BB
Ċ Ċ Ċ Ċ C-
C- CCO O
-
O
Ċ Ċ Ċ C-
Y
.
C O W CC O
p
C C C C
C C
O C O C
cresc.
C C BBB
O C O CCO
C C C C- C- C C C C
C O
Y CCO
C C
C
CCOO
W CCC
C C C
57
!
#
C
CCO
O
C C C
CCC-
CCC-
C- C-
W CC C
CCC C
ff
CC
>C
CC
C
CC
C
CCĊCT
CC
C.
T C C
C
W CCC
C
CCC C
CC
C
CC
C
CC
C
Y > C
g
Y C C > C C
C C
>
C.
CCĊ
C T
W CC > C
C
CCC C
T C C
>C
CC
C
CC
C
Y > C
g
Y C C > C C
C C
>
C.
CCĊ
C C
T h
C
C
Y C
>
Y > C
Y C
Y > C
Y C
Ċ
C
ĊCS
! Y CC CC
CCC C > .
S
#
PEL03 – 37

#
#
#
B
B
CC
CC
C
-C
T
CCC
CCC
AAA
g
CC
g
CC
g
C
g
CCC
CC
CC
C
B
CCC
B
B
g
C
g
C
g
g
CCC
C
CCC
CCC
CC
C
C
C
-C
g
C
C
C
C
T
g
CC
-C
B
B
B
g
C
C
CC
CCC
C
B
C
CC
C
C
CCC
g
C
Q
Q
g
C
-C
-C
C
C
CB
B
-
B
CC
C
-C
CC
g
CC
g
C
C
CC
CC
-
B
B
S
CC
Q
C
C
S
g
C
CCC
C
CC-C
CC
CC
C
C
CC
-
B
B
g
CC
g
CC
g
CCC
C
CC
C
C
C
CC
CCCC
B
B
CC-C
CCC
C
g
C
g
C
g
CCC
C
CCC
C
C
CCCC
BBB
-C
C
C
CC
A
B
C
g
C
CC
C
CC
C
CCC
B
CCCC
Q
C
-C
-C
C
B
B
-
C
CC
CCC
C
C
63
g
! 4
5 O
O C C C CC C C CCC
O
C. C C . - C. C . C C.
O
A
Q
mp
p .
p sostenuto
# O
4
5
O
O
B B C C O
O
C C C
( > )
-
CC
69
!
O
O C C C CC C C C C C C O CC C C O
A C A
B B C C O
O C B B
B
O
poco cresc.
B
B
C C C CC C C C C C C C CC CC A
C C C C C O C C
AA
mf
C
O
B
C
C
O
O B
C
C
C
C
C
C
C
74
!
# C
C
C
-C
C
-C
A
p
O
O
B
B-BBCO C
C C C CC C C C C CC O C CC
O
O C C C CC C C C C CC O
C A C
C O B B B C C O
O
C C CC
79
!
O
O C CC CC CC CC CC O C CC W CC
C C C CCC-
A C A C C CC
# B
B
B
B
C
C
O
O
O
C
C
C
C
C
C
C
C
C
C
B
B
C
C
C
-C
C
-C
BB
-B
B
B
W
p
O
O
O
g
C C C
84
! B O
O
O
C C C B O
cresc.
O
O
g
C C C C O
Y
O
C
C
C
C
-C
C
g
C C C C CC
C
C Y W CCO
O
ff
BB
B
W
W
O
C
C
CC
CC
W CCC
C
CCC C
W
W
O
O
CC
CC
W
C
C
W
W CCO
O
O
O
W CC C C
C
C
89
! W
O
B
B
W
W
O
C
C
W CC C
CC C
W
W
O
O
W
C
C
W
W CCO
O W CC C
O
O
dim. C
W CC
C
BB W B -
C C O
W CC C
W B B W B-
O
W CC C
W W
W
mp
O
CC CC W C
B
B
PEL03 – 38

CC
C
C
C
A
A
C
g
C
h
C
h
Ċ
h
C
C
C
h
C
h
C
C
h
C
Ċ
h
Ċ
C
C
C
B
B
A
C
C
C
C
C C
h
C
h
C
B
T
T
h
g
C
g
C
C
C
CC
AAA
C
C
CC
C
h
C
h
C
C
g
C
C
C
h
C
h
C
S
CCC
C
C
CCC
C
C
S
C
C
C
ḆBB
h
C
h
h
C
g
C
Ċ
h
C
T
C
g
C
B
B
B
>
C
94
!
- -
- - -
W C C CC BBC W W C CC C C W CC
W CC BB A
B C W B W C B C W B AA
CCC C C C
CCC -
C CC-
CCC - C
# W C C
W C C-
C
C-
C
C-
O
B
B
W
C
C
W
C
C-
C
C-
C
C-
C C
C
C
C
C
C
C
C
C
C
C
C-
C
C-
B
B
99
104
A A C C C CC C
C C C C C C C C
B B C C
! O O
O
O
C-
p
#
O O
g
C
! X
=
Y
O
O
Y C C
C-
Ċ Ċ Ċ Ċ Ċ Ċ C > C Ċ C
# Q
X
!
W
mp
Y
C
C
C
C-
O
C
C-
C
C-
T T S
C
C
CCC
W -
C
C-
Y C C C -
C
C-
C C C C C > C Ċ C
Y
O
B
Ḇ
BB
Ḇ
B
Ḇ
X >
O
C C C C Y C
T T S
BBB O
O
C C
.
#
107
!
#
Y
O
111
! C B
#
115
!
CCBB
X O
C-
C C
C C-
O
C C C C
Y
O
C O
Y C
> C Ċ
Y
YX CC
f
Y
C Ċ Ċ Y C
> C Ċ
Y C C > C.
Y C C > C.
!
Y
Y
U T
U T
O
Y C > C > C
A
A
O C- O CCO
mf
C Ċ
O C- O CCO
C. C. C.
g
C C C C C Y >
C C.
C
CC
C.
C. Y C -
Y
Y CC T g
Y
f
g
C. C . C . C .
C
>
C C.
Y C > C > C
C C C.
Ċ Ċ C.
C.
Y Ċ Ċ Ċ Ċ C > C Ċ C - .
C CC
C Ċ
C.
mf
- . C
mp
# Q
!
Q
-
#
Y C >
C C.
Y C C > C.
Ċ C > C C Ċ C W . Ċ
U T
U T
PEL03 – 39

C
C
>C
C
>C
g
C
C
h
g
C
T
h
g
C
h
g
C
T
C
h
C
C
h
h
CCC
C
h
g
C
g
C
T
C
CC
h
h
g
C
C
g
C
T
Ċ
C
h
h
C
C
g
C
T
T
B
h
C
C
C
h
h
S
S
C
C
B
B
T
C
h
C
g
C
C
C
ḆBB
C
h
C
g
C
g
C
CCC
h
g
C
T
T
T
h
C
h
g
C
h
T
C
C
g
C
g
C
C
C
T
C
S
S
T
g
g
T
120
! C Ċ
Ċ C > C C Ċ C W . Ċ
C Ċ
C
> C C Ċ Ċ Ċ C T C C C C C C C C
C C C
cresc.
! Q Q #
C C
C C C
W W C C
W
-
-
-
> C
g C C C Ċ
C Ċ Ċ
C.
C. C . C > Ċ Ċ Ċ Ċ C > Y - Ċ
C Ċ C - Y C
Ċ S
g O
h
fz
C. C C .
C. C C
mp
# A
#
! Y C C S Y C C C- C. C CCC O T C
C- C. O
. C
A
. C . C . C .
126
!
132
!
#
p
C.
C C C CC h
C.
C.
C.
C.
C C C
C.
C.
C.
C C C C - Ċ
C
C C C C CC h
C.
C.
C.
BBB-
CC-
C ĊCC
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 CC C-O
C
C.
W - CCO
O
Ċ Ċ Ċ Ċ C-
137
!
#
C- CCO O
Ċ Ċ Ċ Ċ C-
C- CCO O
C C C C
O C- O
CCO
C C
O C O
CCO
BBB-
CC-
C C -
CC
C
CCO
O
C C C C- C- C C C C
C Y CCOO
C C
cresc.
C
CCO
O
W CCC
C C C
O C O CCO
C C C
C
>
CC
C
>
CĊC T # C>CCC CC ĊC T CC
g
C.
f
C
>C
C
C
C
C
C
C.
C
C
143
#
#
CCCC CC Y C >
C
C
C
C
C
C
Y
C
C
Y >
C
>
C
C
C
>
ĊCT CC CC CC Y C >
C.
C
C
C
C
C
C
Y
C
C
Y >
C
>
C
C
C
>
ĊCT
C.
Y
Y g
Y
B
B
O
!
C
>
!
Y C > C > C
G
Y
Y
C C CC CC C-
CC
Y
Y C-
CCC-
C-
148
!
!
Y
>
C
C
G
Y
C T
C CC CC CC C-
CC
Y
Y
C-
CCC-
C- C
Y C > C > C
G
C T
Y
C CC CC CC C- C CC- C C > C > C
G
C Y C
Y C -
C-
C g
C T
Y
#
g
C C Y CC CC X CC CC C>
C.
C C Y C
C C
> C
C.
T
PEL03 – 40

BBB
C
S
C
S
C
CCCC
C
C
C
>
CCC
B
C
h
T
S
S
C
h
C
h
S
B
C
C
h
Ċ
C
S
B
S
S
C
C
S
B
B
S
S
B
B
BBB
B
B
>
C
T
T
S
C>
CC
C
S
g
CC
C
CCCC
C
g
CC
C
h
Ċ
h
B
C
BB B
T
T
B
CCCC
T
C
CCCC
h
g
C
C
C
>
CCC
C
>
B
B
C
C
h
h
g
CC
CC
C
C
T
T
154
!
#
159
!
164
!
C CCOO
# C - C - C C C C
#
W C C C C
C CCC
CC
C
CC
C
CC
C
Y > C
g
Y C C > C C
C C
>
C.
C Y CCOO
CCĊ
C C
T h
C
C
Y C
>
Y > C
Y C
O C O CCO
CC W C
C
CCO
O
C C C C C C
Y > C
Y C
Ċ
C
ĊCS
! Y CC C C CC C C > .
W - CCO O BBB- W - -
CCO
O BB-
B C- CCO O BBB- C CCOO
O
mp
Ċ Ċ Ċ Ċ C - Ċ Ċ Ċ Ċ C - Ċ Ċ Ċ Ċ C - Ċ Ċ Ċ C - h
CCC-
CCC-
W C C C
C CCC
ff
C- C -
C C
C >
C C
C
#
mp
O
O
Y
CCC
C C
C.
.
CCĊCT
C. C .
C -
g
C. C . C
CC
O
p
W CC O
C C C C
T C CC
C C
C
g
C.
C
C
W C C C C
C CCC
B
B
B
CC
C
O
CC
C
C C
O C O C
Y > C
Y >
C C
cresc.
C C C
CCĊ
C
C.
p .
C B -
O
4
Moderato O = c.54
! 4
6 C W C C C C C C W C C - B O B S C C
C C C
C C CC
mp
# 4
6 Q W
! W C C
!
III
W C S T
C C C
W C C C S S
C C C C C C C C C C C W C C - B OC C B C C
C C C
CC
W
# Q R O S S C B T
! C C W C S S
#
7
!
!
W C C BBBB
#
#
O
W
B C
O
W C
O B O B
!
O
O
S
g
C
mf
!
CCC C
C C
W C C W C C C C W C C C C C
O AAO
PEL03 – 41

S
C
S
B
BB
g
A
C
C
CC
C
C
C
B
C
C
C
C
C
C
C
C
C
B
C
C
CCC
C
C
C
C
C
C
g
C
C
>
C
CC
C
C
C
C
C
B
C
>CC
C
C
C
C
C
Ċ
h
B
T
T
B
B
B
S
CC
C
C
C
C
C
C
C
C
C
S
C
C
C
C
C
C
C
C
C
C
S
>CC
C
C
C
C
B
B
C
C
C
C
C
C
C
C
C
C
C
C
>C
C
C
B
B
C
C
C
C
C
h
g
C
C
C
T
>CC
C
S
CC
C
C
C
C
C
C
>
C
S
C
C
11
!
!
OC C C C CC
#
C
C-
C
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C C C
O
O
B C C C
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O
B C O
R O S S C W C C W C
B
B
CCC W C C C C C C C C C
C C C C C C C C C C
!
C C C
15
!
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f
C C C S T C
W
X
W
W
X C C W C
W C S S
W
X
17
!
!
20
!
!
C T W B
mp
W C
W
Con moto
C C C
W CC
g
C
W
fp
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g
C
C
g
C
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g
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#
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!
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#
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#
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!
24
!
#
W
AAOO
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O
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O
W
BB
B
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C
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B
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O
!
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dim.
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28
!
!
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X
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C
p
#
-
C C 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 C C C
C C C
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C C C
#
PEL03 – 42

C
C
S
C
C
C
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C
C
C
C
C
C
CC
C
S
C
C
>
C
R
B
BB
CC
S
C
B
C
AA
C
B
C
B
C
C
B
C
C
C
C
C
C
B
B
C
C
C
C
C
B
B
C
C
C
C
C
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C
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C
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B
C
C
C
C
C
C
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S
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C
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C
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C
C
C
32
!
C-
C
# S S
C-
C
C-
C
C-
C
C-
C
C-
C
C-
O
C C C C C C C C C
mf
Y
W
W
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B
W
W
O
O
W
W
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O
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BB
B
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O
W
BB
B
CC
C
35
!
#
BB
B
Y CCOO
O
C C CCOO
Y O
dim.
C C C W B > C W B > C - C - C - C - W C -
CCB Y B
X
p
Y
!
C C C C C
C C C
39
!
43
!
C C C Y C C C C C C C C C C C C C - C C - C C -
! C C
!
47
!
#
51
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{eva}
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cresc.
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C-
Y
C C C C-
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Y > C
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eva
C
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Y
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f
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# S
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Ḇ
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mp
O
espressivo
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CC
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Y
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eva
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W
PEL03 – 43

T
S
h
S
T
C
56! C C C CW
BO
B C C C C C W C
B
#
C C C !
S T
Y CO - AO
C W
C C
-
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#
CW
C
p
C C C C C CW
C
B
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C
59
! BO
B S C C CW B C C C C C BO
B
C
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#
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!
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f
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62
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64
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X C C C C W CX
C
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g
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#
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#
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C C C CW
C
C
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!
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C
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G
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I
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66
!
!
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CW
C
G
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C
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G
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>
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C
fp
B C > # S S
C-
C
C-
C
C-
C
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C
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C
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CO
f
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W
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69
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Y C> CO
C B #
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AO
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C C C
W B >
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C C
CO
C
W C
C> C O C
C
PEL03 – 44

C
h
B
C
C
C
AA
C
C
B
A
C
T
C
h
C
C
C
C
C
B
C
C
C
B
C
C
CC
C
C
C
C
C
C
B
B
C
C
C
h
C
C
C
C
C
A
C
C
B
C
C
C
h
C
C
C
B
C
B
B
C
B
C
C
B
R
B
C
C
C
C
C
C
73
!
#
Y O
CCC C Y
G
dim.
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p
! Y C C
C
G C C C
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G
C C C
G C
Y
CCC C
C
G C C C
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g
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Y
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76
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!
Y
Y
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C
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C
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t
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78 C
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!
80
!
!
G
C
cresc.
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C C
C C
G
C C C C C C C C C
I
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G G G
dim.
CCCC
C C C
G
C C C
G
C C C
G
!
f
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C
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C C C
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I
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t
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mp espressivo
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B
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83
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#
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C C B O C C W C
#
O
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!
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C C B O C C W C
# C 4
7
PEL03 – 45

B
B
BB
B
B
B
B
R
R
C
C
>
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C
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C
C
>
C
C
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h
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91
# 74 R S T C C C W C C C A A C -
Y A CCC-
CCC-
4
5 B B B Y X B W B B B B B ! B BBOO
4
7
# 74 4
5 ! 4
7
B B C - C - C - B
C- O
W O
C C C Y C Y C
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Y C
C W C
95
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W A A C W A CC-
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4
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4
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pp
C
#
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5 X
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7
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#
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7
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#
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106
110
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5 4
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7
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CC C C
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cresc.
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4
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W
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B
C Y Y C
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C
>
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3
>
C C X W C C X W C B X O Y C
C C
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B
C W X C W C W C X C
S B > C
Y > B
CC C
ff
# 4
7 O
W
W C X W C C X W C C X W C B X > O Y C B
C C C W C W 4
5 X S 2
3
W B
Y BB CC
W B
B>
C>
BBB
W B
A A AA
W BBB
A
A
PEL03 – 46