Douglas LilburN Complete Piano Music Edition Volume 1
FOREWORD Douglas Lilburn biography ..................................................... ii Editorial notes ..................................................................................... iv
MUSIC Sonata (1949)....................................................................................... 1 Occasional Pieces for Piano (1942–73). 21 Four Preludes (1942–44).......................................................... 21 Two Christmas Pieces for L.B. (1949)..................................... 25 Allegro (1948) ......................................................................... 27 Four Preludes (1948-60)........................................................... 28 Rondino (1952) ...................................................................... 31 Two Preludes (1951)................................................................ 33 Andante (1950) ...................................................................... 37 Poco lento (1956)..................................................................... 38 Three Bars for M.N. (1968) .................................................... 39 Adagio sostenuto (1944)........................................................... 40 Andante commodo (1973)........................................................ 42 Still Music for W.N.R. (1973).................................................. 43
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 first 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.’” Other works inspired by his nostalgia were two student piano sonatas, a cantata entitled Prodigal Country (1939), and the Aotearoa Overture (1940), which has become a New Zealand classic. Returning to Christchurch, Lilburn banded together with an innovative group of painters, poets and publishers who were to prove influential. Settings of Allen Curnow and Denis Glover, for instance, resulted in two iconic works: Landfall in Unknown Seas (1942), a voyage of spiritual discovery for narrator and string orchestra, and the song cycle Sings Harry (1953), the musings of a middle-aged bachelor who, returning to the mountains where he grew up, begins to reassess and evaluate the course his life has taken. Two more works, an orchestral tone poem A Song of Islands (1946) and the Chaconne for piano (1946), find their parallel in the regional paintings of Rita Angus.
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In 1947 Lilburn joined the staff of 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 his garden and, until the onset of arthritis, playing his beloved August Förster piano. He received the Order of New Zealand in 1988.
Sonata (1949) Allegro Poco adagio Allegro assai, vivace The bracing lyric power of this sonata is established in the hill-shaped contour of the opening octave statement and the shadowy recesses of the chordal reply. The counterweight thus provided by chords rebounding from the octaves, creates a resonance or ‘oversound’, which flows through the first movement, and indeed the entire work. This bold gestural opening, almost constituting a counter-narrative to the opening paragraphs of Schubert’s Piano Sonata in A minor, D.784, instinctively identifies with the forces of nature and affirms an enduring passion for life. The central movement, intensely lyrical rather than starkly dramatic, seems to plough the earth. The musical core is a lullaby-like theme which wells up out of heart-break. Cut this music and it will bleed. Yet consolation can be found in the sweet whisper of the closing bars. If the physical push of the second movement is earthward then the psychical direction of the finale is skyward; its melodies overbrim without complication to bring the sonata into abundant fruition. The composer’s friend and colleague Frederick Page gave the first performance but Margaret Nielsen, whose pianism helped to shape Lilburn’s voice, established it in the repertory.
‘Occasional Pieces for Piano’ (1942-73) This collection of sketches, studies and personal tributes was assembled for publication in 1975. Written mainly for amateurs, these pieces apprehend the fold of landscape as well as being rooted in friendship. Poco lento (1956), for instance, flows tidally, while in Still Music, 1973 (dedicated to Christchurch doctor William Norris Rogers) and Three Bars for MN, 1968 (Margaret Nielsen), Lilburn speaks in a soft, personal tone. The first two groups of pieces – Four Preludes (1942–44) and Two Christmas Preludes for L.B. (1949), were written for Leo Bensemann, an artist, amateur pianist, and Denis Glover’s partner at Caxton Press (Four Preludes was first published by Caxton Press). Shifting transitions from light into shadow in the third prelude suggest that Lilburn is contemplating one of
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Bensemann’s regional paintings. Christmas bells ring out in the second set. The Four Preludes (1948-60) and other works in the collection explore the heritage of musical experiences: Bartók and the Eastern European tradition in the third prelude, for instance, Chopin’s mazurkas in the fourth, and gypsy bands in the piece entitled Rondino (1952). A forlorn desolation envelops Andante (1950) and Adagio sostenuto (1944). In the first of the Two Preludes (1951) Lilburn apparently had in mind the peeping call of the grey warbler, a small New Zealand bush bird, while the vernal waft of the second prelude is countered by a disquieting harmonic volatility. The collection includes the following works: Four Preludes (1942–44), Two Christmas Pieces for L.B. (1949), Allegro (1948), Four Preludes (1948–60), Rondino (1952), Two Preludes (1951), Andante (1950), Poco lento (1956), Three Bars for M.N. (1968), Adagio sostenuto (1944), Andante commodo (1973), and Still Music for W.N.R. (1973) Robert Hoskins, Palmerston North, 2011
Editorial notes Douglas Lilburn was always very precise in his notation, however, there was a certain individuality about his manuscript. He would, for example, group quavers so that the performer knew which one carried an emphasis, instead of grouping them in threes or fours according to the beat of the time signature. This mannerism can make it difficult to feel the beat of the piece when there is a syncopation (as there often is in Lilburn), and on occasions he will group quavers in threes when the piece is Cd which can lead a sight-reader into thinking that the piece is in Fh. The editors have regularised the groupings according to normal engraving practice. Lilburn indicated some pedalling, but there are many occasions when there are no indications. He preferred to signify what he wanted with phrasing marks which appear to start and more often end in mid-air but his intentions are always clear. There are also often short ties which appear to be tied to nothing – the effect a harpist would get with a laissez vibrez indication. Although he never played in public Lilburn was a fine pianist. He also brought to his writing an awareness of string bowing and his piano music has many examples of phrases with dots or tenuto marks below them – the marks that would tell a string player that these notes are to be played with one bow. This was the effect he was after, the notes slightly separated but understood as though they were in one phrase. Lilburn was very aware of part writing. However, there are times when a part would cross into a different stave or a different hand, and on such occasions he was more concerned with the logic of the music than making sure that each stave had the right number of rests. The editors have retained all Lilburn’s ties, phrasing, and pedal marks where he gave them, but have regularised the groupings in the normal way. There are, however, some inconsistencies and the editors have erred when necessary on the side of keeping to Lilburn’s notation and have avoided adding rests where they are unnecessary.
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Sonata (1949): Allegro 42
Lilburn’s manuscript has the phrase mark and pedal mark as engraved. It would seem that he wanted the low A to keep sounding.
58
In the manuscript the minim C is not clear – it could be a D, but musical logic suggests the C.
55-57, 169-170: Lilburn’s manuscript has slightly different phrasings for identical music. We have preserved what the composer wrote, but in performance it is probable that he imagined LH and RH in a single phrase (as at bar 169). 128 In Lilburn’s manuscript the third beat semiquavers are not included in either the ending or beginning phrases as engraved, but context suggests that the new phrase should begin on the third beat. Poco adagio Lilburn placed the two time signatures Cd and Bd together at the start of the movement: we have changed the time signature as and where it occurs. Allegro assai, vivace 134-5 When this figure occurs in bars 29-30 Lilburn draws a phrase from the low E in the LH up to the high E in the RH. Occasional Pieces for Piano Two Preludes (1951) There are some discrepancies in the first prelude between a photostat of the manuscript in the possession of the editors and the prelude as engraved in the Price Milburn Edition which we have used as our source (overleaf). Lilburn was a careful proofreader and he definitely would have passed the proofs of the PMM copy. We have therefore assumed that this was the piece as he wanted it to be played. The points of difference are as follows: 1
Ms has “Allegro, ma lontano” with no mm.
Ms has ø
PMM has “smoothly” added.
Ms has no pedalling indications.
4-8
LH chords are not slurred in ms.
16 “poco cresc.” is one bar earlier in ms. 22
The long slur in RH starts on the first quaver of this bar in ms (not the bar before).
25
Ms has ∆ not ∑.
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29
Ms has “dim” at this bar (not two bars earlier).
31
Ms has π here (not three bars later).
32/33 Minim B in LH is tied to minim B in next bar with slur extended in ms. 33
Ms does not have π on 3rd beat.
45
Ms has “cresc.” but no crescendo hairpin in the following two bars.
54
The long slur in RH starts on the first quaver of this bar in ms (not the bar before).
57
The long slur in RH starts on the first quaver of this bar in ms (not the bar before).
58
Ms has no diminuendo hairpin.
60
Ms has “dim al fine” but does not have the ∆ marking.
64
Ms time signature is Fd not Cb.
67
Ms time signature is Fd not Cb.
68
Ms has dotted semibreve in both hands, and no minim rest.
Andante Commodo (1973) We have preserved Lilburn’s grouping of quavers as in this case the composer’s notation shows so clearly the intended cross rhythms. 16
The manuscript has “poco a poco meno π” which we have changed to “poco crescendo”. Rod Biss, Auckland, 2011
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 Bensemenn’s landscape paintings on the cover along with paintings by Rita Angus inside the full-colour booklets. Similarly, we have chosen to feature Bensemenn’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, Claire Harris, Dr Robert Hoskins and financial support from Massey University in the publication of this edition. Promethean Editions, Wellington, 2011
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S OO C OO C OO
B
eva
A
#
BB
S OO W C W B jh A
Y C YY BB jh Y B BB Y C B
B B WC X C OO jh
C
WC WB
jh
C C C CWC C C W WW BBB
B
WB WB
!
mf TU W C C C C T T # g C> g
!
WC WB
Y C OO Y C OO
C CC OW C C T
C C C C C C C C
WB B WB
p C C
S OO
!
-
BO
#
h
C CO C
W CC
B
C C C C ff h g TU C>
-
C WCWC CWBO
WC CWB WC
C
C
TU
TU
C C C CWC C C
189
C
CWC C B
C C C C B TU C C C
dim.
#
cresc.
.C .C .C C C C C
!
jh
C
B
BB #
{eva}
C Y CCC OOOOOO gi C ! S OO jh Y CC OOOO ffgi Y # Y C OO Y C C OO C ! j C h Y C OO
202
C OO C C C C C C jh
!
207
OO CC OO CC OO C CCC OOOO C C CO C jh
BB B
C O# C CC OO C O C C C
CC OO
C OO C B jh
W C OO C C C W C C W C OO C C C C W C C W C C jh jh !
C ! C C CWC C C C C C C WC C C C C dim. . . C .C # WC W .C
?
rall.
# WB
214
#
B
B
WA p ? A
!
A
A
YB
p YA YA
!
TU C C C B O
C AA A
!
C C C C
C C C A C
>
C C C CWC C C C C C C CWC C C C
.C
C.
YC B YC A
!
W C.
B
X BB A
A
B
B
A
W .C
C C
A
A
C.
.C
W C.
C
C B C B
#
C.
C
A
PEL01 – 8
TU C C C B O
C C C C BO
TU C C C B O !
AA
pp # C C
C.
C.
C OO g W CC OOOO C i B
C C C C BO
!
C.
C.
A
g S OO C i B #
gi OO C C C
eva C W C C C CWC C C C C CWC C C C
W C.
C C C C BO
g S OO C i B
222
#
B
B
C C C A C
C C C CWC C C C C C C C C CWC C C C C C CWCWC C C C C C C C C C
#
211
CC OOOO C C C OO jh
B
R B
#
#
WB WB
WA WA BB
AA
dim.
C
C
#
Poco Adagio ( C = 63 )
-g Y YC C OY C O ! 43 Y C mp # 3 CO 4 O C-
h
C C
-g O ! 43 YYYC CC OY C
5
-
CC g CC C C C
g
C C
!
C C
C
!
18
#
h
C
C
g
X CC
C
C
p
C C
-g
h
p CC OO
-g
C
C-
C
CC C CC C CC C C C C
W CC CC CC CC CC CC
C C OC CO CC pOO
C
h
C
C
g CC CC C C C g
C C
C C
C
C C C-
-g
C C OOW C C
C C
C
CO CO
-
g CC CC C C g
-CC h
24 W C
C C
h
C
24 WC W C-
WC C OC W CO
-g
C
g C C
CO C- O
CC h
CC g CC C C C
cresc.
C
CO 34 C C OX C mp 43 C O C- O C
YC YC
C
C C OC CO
CC g CC C C
-
X CC OO C- O
poco cresc.
W CC CC CC CC CC CC # eva- g 14 C COC ! 43 C O pp # 3 4YCO Y C- O
24
C
CC C CC C CC C C C C
9
C
-g
-
24 C C-
g CC CC C C h
# 3 4 XCO X C- O
g
II
C
mf CO CO
-
CC g CC C C h
C C
h
W CC h
CC C
C
h mf CC
h
W CC h
g
h
W CC h
C
CC CC
C C
h
C
CC C
C
CC
CC C C
dim.
C
CC
W CC h
CC OO
C
CC CC
C
BB
C
XC XC B
43 43 C
Ch
dim.
C
CC CC
CC
CC C CC
B
B
CC
-C
X CC
24 C
C C
CC
-C
24
dim.
43 C-
h
g CC CC C C C
43 C
C OO C
CC C
CC
B
PEL01 – 9
C
C
C
C C C C
C
B-
-CC
C
43 X C O XCO
Y CC
C-
CC
-
24 W C p 24 WC W C-
C
-g Y YC C OY C 34 Y C O
B -B B
C
CC
C -C C
g
-
C
S
T C h p !
CC CC -CC h
!
CC OOOO
23
h
semplice
B O C OOY C B
!
CC OOOO CCC -CCC OOO C OO !
28
#
Y B O C OO
CYB
! W CCC OOOOOO CCC. CCC
33
g
CC OOOO CC CC C OO C C h
BB OO BO !
-C -CC CC C
-CC C
#
43
C C g
!
C C OC CO ! WC
C
C C C C
C C OC CO pp C C h
C C
C
-CC C h
g
CC CC C C
CC
C
C C C C C
CC C
g
C
h
C
CC
C
CC C
g
C C OC CO
C WC W C C C C C C C h
C
h
C
h
g
CC CC C C
CC C C C C C C h
CCC
C
g
!
C C OC CO
g
C
g
CC X CCC g
CC
CCC CC C CC h
C C C
h
CC OOOO
-CC CC h
-CC
h
g
CC CC C C
C
CC
C XC C CXC C
C
h
C C C C C C C C C C
C C CXC WC XC
C
CC
g
CC C
CC
CC C C
CO C C C C C
g
C C OC CO
h
CC
C CC OO C
g C
CC C-
-CC
g
CC CC C
C h
g W -C C C
C
CC
CC
-CC -C CC CCC CC
C C C CC C C C
C
g
CC CC C. C
W CC OOOOOO C g
CC
-
ff
CC
C h mp g T # B CC B O C OO C h
C OO Y CCC OOOOOO
C CC OO C
C
C C C C YB PEL01 – 10
C
g
C C C C
g
-C
C OO
h
cantabile, espressivo
g
C OO W CC. CC
C p CO T
C C YC C C C C C YC C C C
g
C CC OO C
-C OO CC O
-C
CC OOOO CCC CCC C OO h
CC
CB C C
CC OOOO CCC CCC OOO CC OOOO -CC
C C C C C C C C
cresc.
-C -CC
CC h
C
X CC OOOO CC CCC C OO C h
g
-C O -C h mp
CC
h
-CC -CC -C O CO CC
C C OO C CC C C C
-C
C C OO C
WC C C C OO g OO # W CC OO (W ) C C C C C
38
CC OOOO CC CC -CC h
B O C OOY C C O T
CCC h
CC -C OO C C C h
CC OOOO CC
-C O
h
C
CC
g
C C C C C
C C C C C
g
C C OO C C
!
47
h -B
! YC
g
CC CC C C
g
C B OO C O B C
g
C C OO C C C
CO
YC
g
dolce
g
C C OO C C !
51
! W CC CC
g
!
C C OO C C
55
#
h
B B Y CC OO ! Y CT O fT g
59
#
62
CC OO
h
CO h CO C
Y Y CC OO O ! Y TC ff X C g T # CO CO
>C
h
C
CC
g
CC
CC CC CC CC CC
g CC CC C C C
C C C C C C C C
#
Y >C Y >C
h
C
C X CC C C
C YC YC h YCYC
h C
CC
g
C C OO C C C
C C
C
h
B
B
C
g CC CC C C
W CC OOO CT T Cg XCO XCO
g
C C OO C C
C cresc.
C C C C YY CC C C C C
C C C YCO C W W CC CC CC C C CC CC Y CC OO T cresc. C T Cg YC T # ! W CC Y CC CC C WCO h WCO >C
CC CC C C
h h
>C
>C
C C CWC
C
>
>
CC CC CC C C C T
C C C C
C-
!
h
C C OO C C
CC C
g
CC
#
C
C C C C
C
CC CC C C
C
PEL01 – 11
C
C
g CC CC C C #
CC C
YC C C C C C C C CC Y C C C C C C C C
C
!
C
C C C C
C
C
C C
CC W CC CC CC CWC C C
CC Y CC CC C C W C C CW C C C C YC
CC CC C C
C
C-
h
CC C C W CC C
C !
C C OO C C
C C C CC C C C C C
CC C C W CC
C
h
g
C
C
C C OC CO
C CC CC CC CC
g
C -C
g CC CC C C h
W CC C
C C C YCO C W W CC CC CC C C CC CC Y CC OO >C T h g >C C T XC YC T # h ! W CC Y CC CC C CO h CO
g
C
C
g
C
eva . . . C g .C .CC CC X CC C g O . . C C CC C CC CC CC C C WC C C C C CO C p sempre h p
C
C
C C
C
g
CYC W CC Y CC C C
#
YCYC YCYC
C
CC C Y C Y C C W CC Y X CC Y C C
C
C
XC XC
!
BB
67
B # C
!
CC OOOO C OO C
#
C
CC CCC C h C
C
C
C
C
C
-C C
CC
CCC OOOOOO CCC CCC h mp # B B !
# WWW 4 4
-CC OO CO
h C
C
X CCC
CC OOOO W CC. CC OO p CC CO CO
C
C
C OOOO C C -C C C ! C OO C C C C h h pp sub. -C # WB WB
75
80
C YC C YC C
71
CC
ten.
-CC C
C
C
C C
CC OOOO C OO
C C -C C C C h
B
B
dim.
YC YC YC YC
YC C YC
-C
h
g
CC OOOO
C C
C
CC OOOO C OO C
CC OOOOOO CCC CC C C h B
C
h C
C
C C -C C C C h
-CC OO CO
B
YC YC YC YC
III
C X C C C C C .C X .CC R
g XC # WWW 4 4XCOXC
Q
XCO
g XC XC
PEL01 – 12
-C
h
h
g CC
C
C C YB YB
CC OOOOOO CCC CC C C h B
CCC C C
C
CC OOOO C OO
W CCC OOOOOO
C
C C -CC
CC CC C C h C
C
C
C
h
C C CC C
C
h
CC
C
C C
CC
C
C
CCC
C pp
-C -CC
C
CCC
CC CC C C h
f YB YB
C
ff S C C
C
C
CC OOOO X C OO
C
C X C C C C C .C X .CC R
CC
CCC
-CC
B
R
C
-C
g W CC C
CCC h
Y -C
g
CC CC C. C
W CCC OOOOOO
CC
CCC CCC C C h
ff C C C C
C
cresc.
WB WB
OO Y CCCC OOOOOO CC
C
g C W CC
C
CC
Allegro assai, vivace
p
CC OO CO
W CC OOOOOO CCC C .
CC C OO C CC O
CC OOOO CC OOOO CC
CC
g
CC
C
C
cresc.
C
CC
ten.
CC
C
C C -CC C YC YC
C
h
CC C
BB B
B OO B
!
!
>C O .C .C .C W C C CO h
W AAA >
>C
!
WWW
6
>C
C C C .C .C .C C C
W W W AA AA ! > AAA
T g XC B
# WWW B O
!
WWW
16
C C C C C
# WWW
!
WWW
21
# WWW
26
!
WWW
W B BBB
BBB
C
g
CC
f BB B
C
C C
g
B # WWW B
!
TXC h
X BB
C
C C C C C C BBB
B
X BB
C C C
C C
X C. W C. W C.
C
CWCC C C C
WCC
C
C
g
X CC
W BB
#
A #
>
CXC C S
C XC BO X X AAA
A>
WWW S !
11
C C C .C .C .C C C
C
CC X BB
C C C
CXC C S
C.
C CWC C C #
semplice
B
C C C C C W B BBB OOOO
C
g
BB
CC
C C CCC
p
PEL01 – 13
g XC XC
XCO
R
C C C C .C .C
C
g
>C
C
X BB
CC WBB C B S
W C> O C g B #
C
B
BO B BB OOO
XC C C B X CC C C C BB
W BB
X BB
S
C C >C . C C C .C .C
sfC C CC
CCC W B BBB
cresc.
C
B B BB
C C
C C C
!
C C C C C C C
W B BBB
BBB
CWCC C C C
C C C C C WCC CC CC CC CC CC CC CO C C C C C C C C C C C C h BB > W >C X BB W C ! T X BB ff
C X C C C C C .C X .CC R
g
C BB
T g C B
dim.
W C CCC
CWCC C C C X BB
S S T h
C B
T C h
W W W C .C .C -C C .C CC C C ! p # WWW R S ! C C
31
BO
# WWW C C C W C C C C B .. ..
37
# WWW
S
C
B C
B
#
B B
C B C
B
!
WWW
BB
!
BB
B
. ! Y C. Y C > . C. C C C. C. C. X C
48
#
R
BB
dim.
!
B
.C
C ! C T S h f #
CO
C C C C C T C C I
C
#
g C
S !
XXX
!
C BO
.C Y .C Y .C X .C C W C C
S
C !
C
# #
B
C
BB
S
C. Y C. Y C.
B
C B C
C C
B
CWC C X C.
BB B
B B
Y C C Y C>. Y C. C. C C S
#
AA
C C
C C X C C C C C C C .C .C BBB p # C. BBB B
CWC CWC C C CXC C C C CWC C C C C CWC C C C C C CWC C C C C C cresc. B BB X BBB X BBB X BB B B B B B C C C C C C C T I
!
C
pp
mf YC C C C C C C C >
C. Y C. Y C. X C.
C C C C C C C C C C C C C BB BB B B # B B
59
R
>C Y Y C C C C C C C XXX YC B
!
53
A
R
AA
B
B
BO
.C .C .C -C C .C C C C B W C. .C .C W .C .C -C C .C .C .C W .C .C -C C .C .C C
W W W .C W .C .C .C -C C .C .C .C W .C .C -C B !
43
C. C. W C C C. C. B CC S A
.C .C .C -C C .C C C C C
CC
CC
TU S
C C C .C
p legg.
senza ped. PEL01 – 14
C C C C .
C C C .C
C C C C .
C C C C C C. C. C #
CBO C
C S
S
!
63
#
f
WCO WCO
# WC
66
#
C WC C
!
C . UT W C C C !
S
C C
W C C C .C
#
#
C.
C.
!
WWWW
W CO
# WWWW A W A
W C C C W .C
#
C C C C .
.C
h
C.
C.
C.
.C .C .C -C
.C .C .C -C
.C .C W W W W 7 C .C T C W4 h ! ( 2 + 3 + 2) pp g # WWWW 7 C T C C. ! W4 C
C A .C .C C
ff C> W C C > C>
!
A
.C .C . .C C C C C T
#
.C .C
-C A
.C
PEL01 – 15
S
mp
.C .C -C A
.C
T
Y C Y C C .C U !
C
Y C Y C C .C
C C C C .
.C .C
!
C C
#
C C C C .
.C .C C
C
C. W C. C C C. C. .C .C .C
CWC mf C.
dim.
T .CC .CC .C CC . C. . CC
C C
C
!
C
WCWC C #
C C C C .
WC C C
C C C C .
W C W C C W C C .C .C C
. . . . . > > > # C C .C X C C C C C C C C C C C C mf
#
C C C C .
!
W C W C C W .C
C C C C .
72
80
W CC !
WC C C C CWCWC W C C C W .C TU I p WevaCC senza ped.
.C .C C
W .C !
76
g
C
69
I WC C C C CWCWC
TU
WCWC C
S !
#
YCYC C
C C C C .
T
C W C W C. C. C> ff .C TWC C. >
#
WWWW
C> C >
WWWW
CWC > >
.C .C C C .C .C C C A
.C .C T C g C T .CC .CC .C CC C. C. C . C.
W
47 47
A
.C . .C .C .C .C .C . .C C C C C C C C C T T h
W
.C .C
45 45
.C . C .C .C eva. . . > W W W W 5 C C T C C C T C C C C C C C .C .C .C C C W4 !
82
( 2 + 3)
(3 + 2)
W W W W 5 .C .C T C C C T W4 C C C. ! C. C. C. C. C> C C C X C . eva .C . . . . . . C C C C C C 85 W W W W C .C T C C T C C .C C .C 5 .CC . W h ! 4 C W W W W .C .C T C g C T .C .C .C C .C .C .C 5 W ! C C. C. C C C C. 4 C . 88
!
WWWW
>
W C C C C C. X C. C. C > f
94
WWWW 5 W4 !
cresc.
{eva} B ! 47 BB
>B O BB OO
CC C CC T . C. T CCC CCC CCC
# 7 T T 4 W C. C. C. C. C. C. C. > C. C. > C. > C. con ped.
T CC C CC T . C. C. C. C. g
C T C> g C XC T C C C. . C. > >
XCO XCO
eva .C . C C T C C C T
.CC . C
.C .C .C .C . T CC C CC T
C C C C C. X C. C C . >
. . . W W W W 3 >C C C C .C X .C C 7 CC .C T CC W4 ! h 4 mp g # WWWW 3 7 ! T CC C W 4 XX CC O 4 . . C. C. O C
W W W W 5 .C .C T W4 C ! 96
>
C T
g C XC T C C C. . C. > >
# WWWW W XCO XCO 91
h
>C
C. C. C C
#
.C . .C .C .C 7 C C T C h 4 pp .C .C 7 CC T C g 4 ! C.
.C .C
.C .C . .C . T C C C C C
C
. CC T CC CC W C. CC C . C. . . .
.C .C .C
W >BB
C. C. C. B
>B O W BB OO
T
PEL01 – 16
.C .C . .C . C C C C C T
. . T .CC .CC C CC C . C. . CC
>C
>
C C C C C. X C. C. C >
XCO XCO
C T 3 4 h g C X C T 43 C C C. . C. > >
.C . .C .C .C .C .C . .C . C C T C C T C C C C C h
g . C CC . T CC CC T CC CC C. CC C . . . C. . . . C X C X >CC X C f X >C # X C X CC C h
sf XC C C XCXC C C C . . .
W >BB OO W W BO
CC CC CC W W >BB T C C C W B cresc.
C
>C C C C X .C .C .C C C C X >CCC T h >C C g C C X .C .C .C C C C XC T X C>
X C C C X C X .C .C .C C
T C W C. C C. C C. . C. C. C C. C . . . . sim.
#
.C .C
T
5 4
XXXX 7 X4 XXXX 7 X4
C C C T CC CC CC
T C W C. C C. C C. . C. C. C C. C . . . . T
45
> XY BBB OOO >
Y BBB Y !
99
#
C > T CCC CCC CC X BBB fff
T
T C W C. C C. C C. . C. C. C C. C . . . .
! WWW BBB >
102
#
T CC CC CC W B C C C BB
#
C.
C.
! 43 CC OO CO
T
!
112
C
C C
C C C C C
! !
116
!
W BB
C C C CC C C C C
CC OO CO
C
C
C
C C C
C
C C C C S
S
dim.
T g WB WC B
C
BB
C.
#
C.
C.
C.
C
T CC CC CC C C C
BO W BB OO
T C C C CC CC CC mp
T C W C. C C. C C. . C. C. C C. C . . . . dim.
T
T C W C. C C. C C. . C. C. C C. C . . . .
T
BB OO BO
44 g T S CC C.C ff g 44 C CO CO S
C C C C C C
>B O W BB OO
T CC CC CC 45 BB OO CC CC CC B C C C BO C C C pp cresc. g T T T 5 C C. C C. C C. . C. C. C C. C 4 C. C C. C C C C . . . . .
CC CC CC CC CC CC . . .
C C
C C C
T
T
T C C C CC CC CC W BB B
BB OO W W BO
T C W C. C C. C C. . C. C. C C. C . . . .
C C C C C CC CC
T C. C C. C. C. C. C C. . .
108
# 3 4
T
BB OO BO
105
T
T CCC CCC CCC W BB B>
T C W C. C C. C C. . C. C. C C. C . . . .
T C W C. C C. C C. . C. C. C C. C . . . .
! B BB
T
WBO W W BB> OO
>B O BB OO
S CC
CO CO
#
C
T C C C C C C C I
CC !
C C C C C C C I
I
g C C
WC WC C C C C C !
W CC
WC C C C C C WC T I W CC
.C >CC .CC C C C T WC C C C C C C C> C h C WBO .CC .CC .CC >CC .CC f marc. WWW # S T C C C C hC T WC C C C C C C C C C C> C
T g
WWW
PEL01 – 17
CC
TU
T C .C W .CC C
C
C
C C C
TWC h p
C C C C C> C
C C C C C> C
43 43 !
.CC .C .C > . C W CC CC CCC CCC T .C .C .C >C h .C WC C C C C # WWW T C C C C h C T WWW T !
121
!
126
WWW
g C
CC BB
# WWW !
131
WWW
C C
g C
B # WWW B
C
CWCC C C C C
g
C C C C C> C
X CC
X BB
W W W .C .C .C -C C .C CC C C !
# WWW C
BO
C
# WWW B
C C
B
W W .C . . ! W WC C C C
147
!
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BB
C B
C. C. W C C C. C.
142
BB
C C C C
g
CC h
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CC T g
T C.CC
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#
B C
B
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S
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!
C C
C
g
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CC WBB C B >C
R
R
C
BO
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!
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C !
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XXX
B
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mf YC C C C C C C C >
S T C h p
BO C
# #
C .C .C
BB
>C Y Y C C C C C C XXX YC C
C .C .C .C W .C .C -C B
PEL01 – 18
C
.C .C .C -C C .C C C C C
B
BB
C CWC C C C
S T g B dim. C
# C O Cg B
B
C
g C
X BB
C
S
C C C C C C C C
C C
C C C
.C .C .C -C C .C C C C !
C C C C C C C C C CC C C
C C
W BB
X BB
C. C. W C C C. C. B CC S A A C
#
C C
C C C C
CWCC C C C
C C C C C WCC CC CC CC CC CC CC CO C C C C C C C C C C C C h BB > X BB W C> C T ! X BB ff
C C C
S
!
T CC C.
X BB
136
WWW R !
CC
C
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C C C C C> C C
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C C
B B
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#
. C C Y C.> Y C. C. C C C. C. C. X C
! Y C. Y C C C C > . .
152
#
AA
R
BB
dim.
!
.C Y .C Y .C X .C C W C C C. Y C. Y C. X C.
C C C C C C C C C C C C C C W CC .CC .CC .C .C X AC C C C C C C C C C C C ! I AAA
!
-C .C .C . . C C C CC CC
! AA
163
#
A !
S
169
W WA AAA # !
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C WC B
C C C C C C C I
173
AAA
C CWC C C C C p W WA W BBB B S
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C WC C
C C C .C
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>
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C C C C .
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177
! W CC
AA
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C C C C .
C C C C .
C C C
W C C C W .C
PEL01 – 19
C
h f CO CO S
f
C S
#
C C C C .
WCO WCO
#
C C T C C C C C I
C
!
g C C
g
C WC
C
!
I WC WC C C C CWC !
WCWC C WC C C C C #
W BBB
B
CC T S
C C C C C C
S CWC B
.C
R
#
A
W WA AAA
CWC C C C C C C WC C C
C C CC
AC C C C C C C
CWC C C B
W BBB
B
CWC
p X AAA
AAA
C CWC C C C C
C W C C C C. C.
CXC C C C C
AC C C C C C C
AAA
AAA
C
. S Y X .CC X W .CC W CC
157
A ! AA
C C
C
!
WC TU S
C C !
!
180
.C
C C C C .
!
W C C C .C
#
WC C C C #
C C C C . >C O .C .C 183 CO h # C C C C C T S ! h ff g # C T C ! W AAA C C C > !
C C B
187
A ! X AAA !
dim.
>C
192
!
C
W AAA
>C >A
C
.C W C C
C
W AAA
C C
C C C .C .C .C W C C
A ! W AAA >
A>
C C B A
W AAA A
C C
C C C .C .C .C W C C
# AAA
C C AA
C C B
C C A
A
!
C C B
!
C C B
201
W AA # WA 206
W AAA #
C C
C
p
AA
C C B
W AA A
AAA
C C B
C C dim.
C C
C C B
C C B AAA
W AAA
C C B
PEL01 – 20
S #
W BBB
C C B
C C B A
W AAA C C
W AAA
B
C
C C B
#
C C
B
.C .C .C W C C
>
poco cresc.
C C B
h
W AAA !
WC C
AA C
C
C
mp S
W BBB OOO C
>C O CO
R
C C C
AA
AAA
C C B
196
WC C WC C B
C
C C C C C C C # C C C ! TU C C C f # C C C C C S ! C C C C >C C C . . . >C C C . . . C C C CWC C C C C CWC C
C C
AA A
WC C B
C C
C C B
C C
W AA WA
AAA
BBB
B R
R
‘occasional pieces for piano’ FOUR PRELUDES 1942–1944 Allegro grazioso C = c. 138
1 7
C C C C C C C C C C C C p WWWW W 3 B O BB OO W 4 BB OO ! BO WWWW W 3 W 4 !
14
BB OOO BB O
BB OOO
BB B OO O
CB OO C C C C C B BO
C C C C C C
#
BB OOO B
B
BB OO BB OO
BB OO BO
!
WW W C C C C C C C C C C C C BO ! W WW BO # W W W W W BB OO W
C C C C C C
C C C C C
BBB OOO
C C C C C C C C C C C C C C C C C C C C C C C C C C C C C
WW W ! W WW C C C C C C B O # WWWW W W
C C C C C C
BB B OOO
#
BB OOO B
BBB OOO
C C C C C CC C C C C C C C B C C C CC C CC C CC C CC C C mp
CB O C C BO C C
C B OO B
BO BO
BO BO
BO BO
C X CC C C XC
CC
C C C C C C C C C C C C WWWW W C C C C C C C C C C C C C C C C C C C C C W C C C CC C CC C C ! CC C p # W W W W W BB OO BB OO ! BBB OOO BB B OOO W BO C B B O OB C B BO C C C 28 WWWW W C C C C C C C C C C C C C W C ! C C C C C C C C C C C C C C C C C C C C C C C C X BB OO BBB OOO BB OOO WWWW W BB OO # BB OO X BB OOO BB O W ! BB OOO B O B O B O BB O B 21
35
WWWW W C C W ! C # W W W W W BB OO W BB OO
C C C
C C C BBB OOO
C C
C
C C
X BB OO XBO
PEL01b Four Preludes © Alexander Turnbull Library Endowment Trust This edition © 2011 Promethean Editions Limited
C C
poco più lento
C C C
PEL01 – 21
C
X X BB OOO XB
C
B
B
CC
C..-
W BBB OOO BO BO
ISMN M-67542-124-6
Allegro deciso C = c.138
2
6
W ! W| R # WW |
17
23
C
CC
C
C
# W W W CC W CC
CC
C
CC
CC
CC
C
B
W CC
BB
C CXC C C C C C C
CC W BB
S
B C
C
C
CC
WB WB
B
CC
CC W B B
B
CC
CC
CC
C
C C
CC
B
B C
CC
CCC
CC
B
CC
C C
PEL01 – 22
C
S
CC C
CC
C
B
B ff C XB CC X BB C
B B
C
, BB
C
f CC
B
B p CC
CC C
C
B
B
C C
C C
C
C
CC
B
C
B
CCC X BB XB CC
C
B
CC W BB C B
C
B
W CC
CC
CC C
B
C C C C
CC CC
CC
B
mp CC C
CC S
B
B
CCC
B
CC
B
S X CC
B
B mp W CC
C
W CC C
W CCC
CC W BB C B
C
rall.
C
R mf
R
S C
CC C
CC X CC CC
C
B
S CC
S X CC
B CC
C
CC
CC
R f C W CC C C S
B
C
B p CC
CC CC CC S
S
B
S
CC C
CO C B
B
S
CC
CC C
B
C C C C CC
CC CC
CC C
C C C C C C C C C CC p C CC R S
C
WW C C C C C C C W C C CC ! p C CC # WW R
W ! W B B p # W W CC
CC
C C C C C C C C C CC mf BB OO CC
CC CC B WB
W W CC !
CC
CC
W CC C B ! W XC B # WW
12
mf
S
C
C
B
CC C BBB
B
B
g
Sostenuto e quasi lontano C = c.152
3
# 3 CC OO 8 ppp # 3 8 CO
CC OO
CC OO
CO C
con 2 Ped.
C
!
7
BB B #
# 5 8 #
C
CC OO
19
# C
BB
C
24 T
!
24 B C
B
C
58 CC O C CC C h
g 5 8
C
g
C C C
C C C C C C
h
C
C
g
CC C
C C
24 T
C C C BB B
C C C
C C C
C C C
BB
24 B
C C C C C C !
B
38 C CC
38
38 CC O C 58 CC O C C C C h h poco cresc. g 5 g 38 8 C C C C C C
B
BB
-
C
BB
C C C C h
CC
38
C
C
g
CC O C h p C
C
C C C
CC OO #
pp g C CC
38 C
C C C C C
38 C O CO sf 38
T
C
CC
C C C
C C
C C C C h
g
C CC
CC
58 58 T
pp g C
58 CC O C CC C h
g 5 8
C
g
C C C
g # 3 CC O C CC C 2 T ! C C C C C C T C C C C T 3 T C C C C C C C C C C 2 T C C C C C C 5 C O C C 8 4 4 4 8 h pp pp B CC OO CC 3 BBB OOO # 3 g 5 dim. 2 24 B B 8 8 4 B 4 h C C CO C B B
26
32
C
g
C C C C C C T
C C C C C
# 5 CC O C CC C 8 h
13
C
g
58 CC O pp 58 C
T C C C C T 3 T C C C C C C C C C C 2 T C C C C C C T C C C C T 4 4 pp B O CC OO CC # W CCC OOO CCC 3 W BB OO 2 4 4 B h h B !
PEL01 – 23
T C C C C C C 3 8 poco cresc. BBB 38
C C C C C C CCC OOO
#
38 38
C C C C C C 24 T C C C C C C C C C C C C mp CCC OOO BB 24 B B !
38
# 44
! 38 C # 3 8
CC
T
C C C C h
C
pp g C CC
CC
Allegro B = c.84
4
6
# YY Y Y | YY p # YY Y Y | g C YY . C.
# YY Y Y C C YY # YY Y Y YY
12
XC
XC
58 CC OO 58 C
C
CC CC X CC CC
C
C C
Y CC CC
# YY Y Y X CC CC CC CC CC X X CC YY ff # YY Y Y X C C C C C C YY C C C C C XC C
CC C
BB
C
B
C
C ff
CC CC
38 CO
C
C
C C C
CC T S
C C C C
C
p
C C C C C
>C > C
!
PEL01 – 24
CO
CO
p
C C C C
C
C BB
38 38
?
CC OO ?
CO CC CC
CC CC
C C C C C
C C> > C>
C C C
CC OO
C
C C C C C C
C C C C
cresc.
!
CC OO
C C C C
C C C C
C C C C C C h B
C
CC CC
C
C C C C C C C C
38 CC OO
dim. possibile
C C C C
poco cresc.
C
g
CC
sempre staccato .C C C C C C C C
C. C. C. C.
CC CC
# YY Y Y C C C YY # YY Y Y YY
18
C
.C .C
#
T C C C C C C C C C C C C p BB BB B
C C C C C C BB B
C C C C
C C C C C C C C
C C C C
C C C C
XC C C C
C
C
C C g X C C C T S BB C mp g f BB # C C T S C C
C
C CC C AA
C
C CC X CC h
CC S R .
XC C
g
two christmas pieces for l.b. Andantino C = c.76
1
CC C CC CC 2 ! 4 p dolce C # 2 C 4 C !
C
!
CC
7
C CC
C
#
CC
12
CC
CC
#
C
! 24 CC
17
23
!
CC
B
#
C C
dim.
C
#
C
C CC
!
29
C
C
C
CC C
CC
C CC
CC
CC
C CC C
CC
CC B
C CC
C CC
CC
CC
CC CC
C
CC
CC
poco cresc.
B C
p C C
B CC CC
C
C CC
CC
C
C C
CC
CC
B
C B
C
C
C
CC
CC
CC
C
CC CC
C CC
PEL01c Two Christmas Pieces for L.B. © Alexander Turnbull Library Endowment Trust This edition © 2011 Promethean Editions Limited PEL01 – 25
CC
CC
C
CC
C CC
CC CC
C
B CC
CC CC
C C
CC C CC CC
CC CC
CC C C
24 C C
CC C
CC
24 CC C
CC
C
B C
C CC
43
C
CC
# 2 4 B
C CC
CC C C C CC CC CC
C C 43
CC
C
CC C C C CC CC C
CC
C CC CC CC
CC
CC
C
C C CC
CC
CC
CC C
CC CC
B
C CC
43
B B
CC
C
CC
C
CC
CC
C 43 43
CC C
C
CC CC
C
CC
C
CC
C
CC
C C CC
CC
C
C CC
C
C 43 C
CC
CC C C C CC CC C
C
C
C CC
1949
C CC
CC
C
C C CC 24
C CC CC CC
CC
C
CC
CC C
mf B B CC
24
C
CC
CC
C
C
C
CC
24 B WB 24 B ISMN M-67542-124-6
Moderato B O = c.52
2
! 46 CC- BB p # 6 S S 4 d !
!
W -CCC
BB
CC
5
C B
BB
C-
B
BB CC C
B
CB
B -C
W -CCC CC
CC X CCC C O X BBB OO
BB
! CC # S BB
! CC
17
# S !
21
#
BBB OOO
C
CC
W C-
C -C
-C
B
CC X CCC CC
BBB OOO
cresc.
C
-CC
B
-C
C CC X CCC -
O X BBB OO
B
CB C
BB
CC C-
BB CC
S
W -CCC
BB CC
S
-C BB
CC C
B
BB
CC C
B
-C
BB CC
S -CC C
cresc.
CC
W -CCC
S
BBB OOO
BB
BB
CC C
C
-CC
C -C
BBB OOO
-C BB
CC
C-CC
CC X CCC -
X BBB OOO
W -CCC CC
BBB OOO
B C
C
-CC
W -CCC
PEL01 – 26
BB OO BO
CC
B
C B
W C-
CC X CCC -
BB OOO B
CCC C-
CCC -
BBB
-C -CC
CC
CC X C C
C
-CC
CCC C
-
O X BBB OO
-C
CC X CCC -
BBB OOO
C
-
C
BBB OOO C
S
BB OOO B
C
CS CCC -
CC
CCC
C
BO BB OO
CCC -
-
S C-C
C-CC C C f p S BB ¯ C-
CCC
BB
-
BBB OOO
-
-
C-
CC C
CCC
C
-C BB
CC CCC
B ?
CC
C-CC
-
C-C
CC
CC
CCC
C-CC C
-C BB
B
-C CC
BBB OOO
C-CC B
C
-C
BB CC
C
CC
W -CCC CC
-C BB
B
C
X BBB OOO
BB CC
sim. 13
BB
CC C-
B
BB
BB
CC
-C CC
BB
CC
sim.
C
-C
BBB OOO
#
CC
CC
# B 9
BB
B ?
CCC B f BB OO ¯
allegro
1948
Allegro C = c.158
! |YC p # |YC
#
11
#
21
26
C
g
S p > C
C YC YC S B
S
X .C Y .C X C .
Y C. Y C . X C.
S
C YC YC
S
YC
C YC
YC #
16
C
S
C C
YC
!
6
C
C
B B S YC Y C.
YC S
Y C. Y C. C.
YC mp !
CO
YC B g
YC ! YC ff # YY CC ! CC # B
B
C YC
C C C
CC
B B
C B
AA
YC
B
A
AA CC
BB CO C C B
dim.
C
CC
A
B
C
CC
PEL01d Allegro © Alexander Turnbull Library Endowment Trust This edition © 2011 Promethean Editions Limited
C C
C C
gi
C
S
B
PEL01 – 27
C
!
cresc.
Y B-
C.
.C
YC YC
C
gi CC BB
CC OOOO C OO S
C B C
C Y B-
C
C
C C
S YC YC YC YC
C.
YC mf YC B
CC
B
B C B f YC CO U S WC S T CO W C.
cresc.
AA
CC
C B
C OO
g
C YC
C
A
CC OOOO W CC i C OO C
C
Y C. Y C. Y C.
A
B
C
CO
C
Y .C
dim.
C OO C jh C OO C jh C
YC S
C
C YC YC
C
YC
A
A CC
C C
A
B CC X CCC W BB
S
Y .C X .C Y .C X .C
C Y CC OO Y C C
C B
.C #
C OO C
i C C C C C C C OO ! B CWC C WC C C W C OO mp sfB O C C C C # T O CC B O C C C C jh B
C
CO C C C C
C O TU S S CO sf TOXC BO XC BO
S YC Y C. S
C
YC
B
Y .C Y .C C. S
CO C C C
CO
C CC
CC
CC C C
f > YC YC >
S C
S
C C
CC >
C
ISMN M-67542-124-6
FOUR PRELUDES Andante C = c.54
1948–1960
G
1
C YC ! 24 C Y C C C C C C C C p with freedom G O C C C C C # 2 4 C YC C C G CO !
5
#
CO h
C WC
C
YC
h
C
CO
h CO
C
C
C
C WC
Y CC C
h
C
CC
C
B
C
C WC
C
C YC C C C C C C C
C YC
WC CC
G
C
C
C
C
C
WC C C WC C C C C C C C C G I pp W CC C C meno mosso
WC C C WC C C C C C C C WC C C WC C C C C C C C C C C WC C C WC C C C C ! G I G J poco cresc. mp W CC W CC W CCC W CC # W C W C C C C W C W C C C C
10
rit.
#
CYC C C C C C C C YC C C C p G CC Y CC C C CO
B !
B
18
#
CC
CC Y CC C
C
C WC
CC
CC
C
C
C
C
G
a tempo
C C C W CC CC CC CC CC Y CC !
13
C C CC fC O CO C
CC
CC C
YC YC h
PEL01e Four Preludes © Alexander Turnbull Library Endowment Trust This edition © 2011 Promethean Editions Limited
CCC C
CCC C
PEL01 – 28
CC
h
C
CO
YC
CC C C
dim.
C
CCC
C WC
C
C
C CC
C CC CC Y CC
cresc.
CCC
C C
h
C
C
p C C
BBB B B ISMN M-67542-124-6
Andantino C = c. 66
2
C YYY 2 h Y ! Y4 p Y ! Y YYY 24 T
Y C ! Y YYY
5
YY YY X -C ! Y
C
C
C
-
C
XC C CC
C
C C -
CC
C
C XC C
C
C
CC X C
XC
C C
-
YC C
C
C C
C
I
3
C YC OYC ! 44 W C C C C C C C C h p espressivo # 4 Q 4
. . . . . ! YC C C C C C I
4
#
YC YC 6 Y .C .C .C .C .C .C ! C YC I #
8
C
! Y C. C. . . Y C # YB C
I
C. I . C
C
C. C. C . . C C C
C W W CC
C
XC
.C C g
ff C W W CC WC h 10 CC # CC OO h G I > # WC C C C C C C C sf
C
XC
CC OO
CC OO CO h C
-CC
g
g
C YC
C YC
C
C
C
YC
C XC
YC
CC OO CO
G
WC
CC
CC C
CC C
XC
CC -
I
C
I
C
I
>
h
CC
CC OO
h
B
C YCO C YCO
C C C C C C C #
YC
C YC h
C C C C C C C YC
YC h
YC C XC XC YC
C
WC C C C C C C C C sf sf -CC -CC OO -CC OO -CC -CC OO h h p dim. g > C C C B PEL01 – 29
C
WC C C C C C C C C YCO
WC I
C
C
XC
cresc.
C G
C
G
g
B
G
WC
C
C
CC
Y .C .C .C .C .C C C C O X C I
CO
C
-
XC
C C
C
C
Lento ma non troppo C = c.50
G
C C
C C C
G
C.
YC
>
C C C C C C C
W CC
g
C YC YC XC C. Y C. Y C. X C. CC h I
-
C
-CC
AA
CC
dim.
-BB OO
Andantino C = c.76
4
WW 3 ! 4 C p # WW 3 S 4
C. C. C. C. C C C Y C C C
C
C
*
BBB
W ! W C C C CYC C
6
B
C
W ! W C CWC
12
# WW
!
WW
17
# WW
!
WW
BB B C
C
C C
YC
YY BBB
W -CCC W # WW
B
C C XC C
-CC X X -CC CX C
C
C C
dim.
C
C C C
dim.
B
-CC -C C Y CC
C -CC C
* The gracenotes are performed thus:
C CCC
mp
B
C
mp C
C C CYC p B
C C C C
C C CXC C C
C pp CCC OOO T
C
C C
C C CO
g
C C CO
W CC C
C C YC C C Y CCC
W ! W C C CO PEL01 – 30
C
C
C
C C
YC
YY BBB
C
C C
BB B
YY BBB
C
C
C C
WC
C
C C C C
C C C YC C C YC
C
C C
C C C C
WC WC
BBB
C C
B
C
C C C C C
BB
CC
C
C C
T
C C C XC C C
C C B
CC OOO
C
C C C C cresc.
g
C C C BB B
BBB
C
BBB
X BBB
C
C C
BB
C C C
C WC C C C C C
C
C C C C C C C
C
C C
BB
C C C BB B C
C C
BB
# WW C
22
C
C C
f
X CCC CCC CCC
C
WC C
-C -C C -
WC W CC
WC C CC
C C B BBB OOO
rondino
1952
Allegro C = c.92
.C .C WW ! W W W 43 p # WWWW 3 W 4 C.
5
9
13
16
.C .C .C .C C . . . . .C . C C C C C C C C C C C CC C C .C .C ! C CC C. C C C #
. . . . C .C .C .C .C .C .C C C C 2 C C C C C C 4 .C CC CC . C . C C .C C C 24 C
.C .C .C .C .C .C C C .C .C .C .C C C C C C C C C C C C C C C 43 C C C C C C. C. C C W ! C mf C CC OOO . . C C C C CCC . C C .C C C C C . C C C # WWWW C . 3 C C CC C ! W C 4 C. . C C WWWW
W W W W .C .C .C .C C C C C C 2 W ! 4 .C .C . C C W . # WW W C C 24 W W W W W .C .C .C .C C W ! p subito # W W W W . .C ! W C C
C C .C
# W W W W 2 .C W4
.C
!
C
C C C
C
.C .C .C .C C
.C
CXC C C C
CO
XC
.C
.C #
C
C
. C C C C C C C 3 C C C C C C C C X .C C 4 C CC OOO C C C C C C C .C X .C .C . C C C 43
CC
C
X CC C
WW ! W W W 24 X C. C. C. C. C
CC
.C .C .C .C C C C
C
PEL01f Rondino © Alexander Turnbull Library Endowment Trust This edition © 2011 Promethean Editions Limited
C
!
C C C C
C
PEL01 – 31
C
C
.C
.C #
CXC C C C
CO
.C .C .C .C C
C C
X CC C
C
XC
#
C
CXC C C C
CO
XC
!
C C .C
C C
C
.C
X CC C
C
#
24 24
-B XC C C C XC XC ISMN M-67542-124-6
21
26
31
WWWW
W C O XX CC X CC ! h pp WWWW W C OO X C g ! X C X C X CC
WWWW C O W !
CC
#
CC W CC
.C .C .C .C .C .C C 43 mp C CCC C 43 C. C.
C C
.C .C .C .C C C
.C
C
.C
!
C
CC
C C C C #
C
24 24
XC h
#
.C .C .C .C X C C C X C C 24 X .C .C .C .C X C C C X C O C X C X C C C X C O C X C C C X C .C .C X X . . # XC XC X C XC ! XC C 24 X C ! X C X C X C XC C XC XC C XC C CO
.C
!
CC C C C
XX CC h
XC XC . X C. X C .
W W W W .C .C .C .C C C C C C W ! C # W W W W .C W
45
f
W W W W .C .C .C .C X C X C C C X C C W !
WWWW X C W . X C. X C C ! . 41
CC W CC
.C .C .C .C X C X C C .C .C W W W W 2 .C .C .C .C C C C C C C C C C C C C C C C C C C C C C C C X C C 3 C W4 XC 4 ! p subito . C C C C C C # WWWW 2 C # 3 X .C X C C C C XC . ! C C C C C. ! X C X C CC W4 4
. # W W W W X .C X C ! X C X CC W XC C 36
CC
#
X BB
pp
XC XC
CC X CC
CC
W CC
f
W CC
#
.C .C .C .C .C .C C 43 p C CCC C 43 C. C.
.C .C .C .C C C . . . . C C C 2 C C C C C C C 4 cresc. .C C CC . C C .C C C .C C C 24
C C
C C C C C C C
C CC OOO
C .C .C .C T C # C C C C 6 C C C C 2 W C C C C C . C. 8 C C C C . C. C C C C . C. 4 C ! h ff . . . C C . . . C C C C C . C C C C C C C g T C C C C C C C C C C .C # WWWW 6 2 C W 8 4 C C C . C. C. WWWW
C C
PEL01 – 32
S
S
#
two preludes
1951
Allegro commodo, lontano B O = c.66
1
WW ! W W W 43
Q
p
# WWWW 3 W4 B
WWWW 3 C C C W4 ! # WWWW 3 W4
14
21
28
C
C
smoothly
d
8
S C C
C
BBB OOO
WWWW S C W ! C WWWW O W BBB OO ! WW ! W W W 43 B
# WWWW 3 C B W4
#
S S C WC
43 A
A
C
C !
S BB-B OOO
C
C
#
BB OOO B C
C
W BBB OOO
BO
BO
C C C
W BBB OOO C
B 43 43
C C C
BB OOO B !
B 43 C
44 C C W C C 44
C C C
Q
44 C 44
WWWW 3 C C C C W4 ! BO # W W W W 3 BB OO W4
C C C C
C
BBB OOO
43
44 C
43
W BBB
44
44
BBB
W BBB
44
poco cresc.
B- O
A
BBB
43
B 43 43
43
C C
C
44 C C W C C
C C C C #
C C
44 C C C C
C !
BO
C C C C 4 C C WC C 3 B 4 4 44
B- O C
5 B 4
5 S 4 B
B C 5 B WB C 5 B WB C 3 C 43 4 4 4 dim. mf B S S B B 43 O 45 B 43 C 45 B 43 B
BB
WB C B
PEL01g Two Preludes © Alexander Turnbull Library Endowment Trust This edition © 2011 Promethean Editions Limited
3 B 4
3 C B 4
C
PEL01 – 33
5 B 4
5 S 4 B
B B
C
3 4 B 3 C 4
B
C
C C
S S
S p C
ISMN M-67542-124-6
!
WWWW
!
WWWW
34
W
C C C # WWWW W 40
W
BB OOO B
C # WWWW W 46
BBB OOO
pp Q C
C
C C
C
W W W W 5 AAA W4 !
C C
BO W BB OO
WW B ! W W W 43 # WWWW 3 C W4
57
WWWW C C C C W ! # WWWW
63
W
B- O
WW ! W W W 43 B
# WWWW 3 C B W4
B
B C
BBB OOO -
C
C
4 C C WC C 4 44
A
C 23 B
3 S 2 BO
A B
ten.
BO
44
B
44
C
B
C
BBB
WB
5 B 4 mp S 45
B 45 B C p dim. 5 S B 4 B PEL01 – 34
45
B 43 B 3 C 4
B
C
B
3 4 B 43 C C 23 B
B
C
5 B 4
3 S 2 BO
S 45 B A
45
B
C B
C C
BBB OOO B
#
B
C
dim.
A
A
43 43
S !
BO C
45
WB
34 B C
C
C C
S 45 B
A C
W BBB OOO C
C
43 B
B
BO 34 BB OO C C C 34
B
O 34 BBB OO C C C 43 C
C C
C 43
C WC
44 C
C
BBB
B 43 C
B
44
C C
C
mf S 45 B
C
B
44 W BB C
C
44 W BB
B- O
3 B 4 43
C
45
C C C #
B
C C
Q
44 S
!
BB OOO
BB OOO C
C
44 C C C C C
C
C
C
C C
C C C C # WWWW 5 S W4 51
BO W BB OO
R
R
3 4 43
2
!
WWWW
Moderato C = c.84
S
44
T U C. C. C. C. C. C C- C C C C . T C C C
pp
# WWWW 4 4
A
C
WW ! W W T U C. C. C. C. C. C. C- CT CC C CC C # WWWW A
5
{eva} 10 W W W W W -CC OO WCO ! -C O
!
WWWW
!
{eva} -O W W W W BBB OO
14
#
#
C
-C
g
!
C-
CC C
-C
-B O BB OO CC
g W -CC W W W W CC! C W C C. C- O -CC
dim.
Q
eva C -CC ! C
... T -C C C C C C CC BBB
CC C
-C
C C
BB B Q
-
T .C .C .C .C -C C C C #
BB OO
-
CO CO . ..C X C O # hC C C C C C - p R XB XB WW CC
CC W CC CCC C - -
W -CC OO WCO -C CC
CC
BB C
C
-
-
-
-C O #
#
-C -C
-C
W -CC . C C CO C h -CC
CC
> T W C W CC CC CC CC
-C W -C O CC W CC OO
CC
X -CC W -CC OO #
T
p g CC
WW T U C C C C- C C C C C C- W C W C C ! W W T U C C C C- C C C C WC WC C C C C C C . C C # WWWW
18
W W W W -C C C C C -C C C C C C -C C C -C C C C -C C C C WC C WC !
21
!
WWWW
C
poco cresc.
C C C
C C
C
WC
WC
PEL01 – 35
#
WC
WC -C CC
pp S -C !
!
p -C CC -C C-
eva > W C C C C -CC T WC C C C C C
g W C W C WC C C V >CC W CC ! V CC W BB h > WC C C C C
W -CC
C C C- C C C .C C !
BB OO BO
T U W C C C C- C C C TU C C C C C C C C
- C C UT C C C C C
C C C . dim.
!
BB OO BO
S
eva -C S CC
B C
-B
X BB OO BO
XX CC
>
!
mf g V CC W CC OO >
-C
T
C C C. h .
.C
-C -C
-C
C-
C-
C-
C
p S
CC
CC CC
!
-C O C W W W W C OO !
25
!
WWWW
!
W W W W CC !
C-
WWWW
!
WWWW
C-
CC
-C C-
C-
CC S #
C
!
WWWW
!
W W W W CCC C C C C C C C C C
C-
W C-
g
V CC W AA >
W -C
WWWW W C C C C C C C C ! C C. C .
C C .
#
S #
C BB C C B
!
BB C C
A
W W W W -C C C -C C C C -C C C C WC !
42
CC OO
> V C CC CC CC CC CC CC CC C C C C C C
T U C. C. C. C. C. C C- C C C C . T C C C
-C -C -C O W W W W CC CC W CCC OOO T # W C C C C C C C ! f # W W W W C C CC OO g B O B OO C- C- C- O CC B
38
> C C C CC C C C C T h
> T V C CC CC CC CC T h mf -C O g g W C O V CC C O V CC >
-C
W W W W CC !
C
S
C C C C C C C C C C C C C C C- C C C WC C .C BC B
CO C
C B
-C -C
33
T
-C W -C O CC W CC OO
-C
29
45
#
CC OO -
CO! T
C C C C C C
#
-
CC Q
CC CC
R
T U C C C C- C C C C WC C .C
C- C C C
.C C
CC CC
CC -
W -C
C C C C CO T dim.
-C
!
C
C T C C
C
-C
PEL01 – 36
!
B C C
-C C C C
CC OO T CC- OO SO g CC
-C CC
S
p
C C C .
C-
C C C C C C C #
-C CC
!
BB OO BO
C C-
C
-C
CC C CCC C CCC C CCC C
W -C C -C C -C C -C C C C C C
g T C C C C C C C C C C C C T
p S ! -C
S
WC
CC
T U C C C C W C W C C C C C- C C C C C C C C C C C C C
-C C C -C W C W C C -C C C C C C C C TU C
-
. .C C
-C
. C .C C
WC d
-C C C B
p
C C -B .
C #
Q A
!
andante
1950
Andante C = c.72
! 43
# 3 S 4 T
!
# CC C
CC
>
!
11
CCC
>
!
C
15
C ! CCC # CC C
CC CC
C
CC C CC
B CO C CO h
B
CC
Y BB
CCC
CCC
C C
CC
C C
CCC CC
CCC C
>
C C
CC
CCC
B
CC
Y BBB
C
C>
* The gracenotes are performed thus:
BB
CC
!
CCC
CCC
C
C
C
> C C C C
C-
C
CC CC
C-
C
PEL01h Andante © Alexander Turnbull Library Endowment Trust This edition © 2011 Promethean Editions Limited
C-
C
C
43 C
C C
C-
CCC CCC
C
C
PEL01 – 37
BBB
C
C
CCC CC
g CC-
g C
CC
CCC
CCC
C ff C
C
CCC CCC
CC C
C
C
C
B C O C CC OO CCC
g
B
CO
-C
C C h Y BBB
CCC
CC BB
C C
C h
CCC CCC
CC
C
CCC C
B CCC
BBB
C
C
B
CC
C
BB
C
poco dim.
C
C
C
BB
p C CC
CCC C
C
C
C C C CC CC C
p CC C >
>
cresc.
43 C
CO
C C
CC CC
CC
Y BBB
>
B
C O C CC pp CCC BB B CC
C
C
B
44 CC C
CC CC
CC
CC
BBB
C
g
BB
C
B
CC CC
CO C CO C CC
C
allargando al fine
44
C C
>
C
CC CC
>
B
cresc.
CO C C C
BB
CC
CC Y CC
C
g
dim.
BB OO C
Y BB
C C C-
f CC C
CC C
CC
C
CCC
BB
g
CO
C
CCC CCC C C
CC
CC CC
CC BB
C
#
CC
C O C CC
C
CC CC CC CCC C C C C
B
#
19
CC
BB C
C
Q
C C CC
C
CC CC
6
Q p
* >
CC
BB
ISMN M-67542-124-6
poco lento
1956
Poco lento C O = c.54
RO ! 12 8 p # 12 Y CC OO 8 CC OO -
CCC OOO C- O
C C C C C C C C C C CYC
BBB OOO BO
lontano
C C WC XC C ! 68 C
4
# 6 Y BB OO 8 BB OO 7
!
WW
BBB OOO BBB OOO
# WW S O
10
CC OOO CC O CC OO
g
C C C C C C C C C CYC C C SO C
Y CCC OOO C- O
W W 12 8 BBB OOO
W W 12 S O O CC O 8 CC OO
CCC OOO C- O
BBB OOO BO
C C C O C Y C C C C C C C C 68
Y CCC OOO CO
CCC OOO
CCC OOO
CCC OOO
CCC OOO
CCC OOO
CCC OOO CCC OOO
BBB OOO
CCC OOO
C C C C C C C C C CYC 12 C ! 8 Y CC CCC OOO Y # 12 h 8 YC PEL01i
C C C C C C C C C C C C C C C XC YC C C C C
14
CCC
g
Y Y CC CCC
Poco Lento © Alexander Turnbull Library Endowment Trust This edition © 2011 Promethean Editions Limited
CC
g
CC OO CO
PEL01 – 38
W CC OOO C
Y X BBB OOO BO
68
BBB OOO BB OO C C C C C C C C C C C C
CC OO CO CO
BB OOO B BO
BBB OOOB O C C C C C C C C C C C C BB OO C C C C C C C C C C C C C O CC OO CC OO CCC OO B OBB OO CC OO C O C O C BB OO ! BO h CC OO BB OO CCC OOO CC OO CC OO W C O C O B O C O B O # W W S O CCC OOO BBB OOO SO CO BO C O C OW CC OO CC OO BB OO CC OO BB OO WW
CCC OOO CO
C C C C C C C C C C C C
S O CCC OOO CC OO
BB OO BB OO
Y CCC OOO CO
CCC OOO CO
C C C C C C C C C C C C BBB OOO BBB OOO
C C C C C C C C C C C C CCC OOO
BBB OOO BB OO BO
g
O 68 W BBC O C C C C C X X 12 8 h 68 W CCC OOO
C WCXC C C
ten.
CO BO BO
W BB OOO B
X X 12 8
RO RO
ISMN M-67542-124-6
three bars for m.n. !
g C = c.56, with freedom
C mf # T
C
#
Y C Y C X C W CC
CO
mf
C
C
C
>
C C
WCO
YC
C
C !
C C WC
WC WC
C.
TUU
C
C
C
C g
W Y CC X X CC -
!
B
p g WC
WC
?
C C OO
WC h
C OOOO
> C YCO
C
BB
C
C
mf g C C C UT X C O G >
PEL01j Three Bars for M.N. © Alexander Turnbull Library Endowment Trust PEL01 – 39 This edition © 2011 Promethean Editions Limited
C
C WC C WCO
#
?
WB
WC ff >C
CC
XCO
d
! CO mp ? # S
YC
BC
?
!
YC
G
1968
YC #
p ? B
ISMN M-67542-124-6
adagio sostenuto
1944
Adagio sostenuto C = c.52
# 4 T W W CC CC CC CC C C C T W W CC CC CC CC C C X CC W W CC CC CC CC CC CC CC CC W W CC CC CC CC CC CC CC W CC 4 pp g g g WC XC g XC # 4 g XC g g C C O C C W C 4 B C - C XB WC O C C WCO C C B C XB C WCO # X W BB OO
5
#
C T W CC CC CC CC CC W CC C
S
pp S
BB OO BO
B
# #
CO C
g
C
CO
C C
Y BB OO
CC CC CC CC C C C CC C C C
9
C
g
BB OO BO
S
B
! YC YC YC YC C !
#
C
CC CC CC CC CC CC CC CC CC C C C C C C C C C pp YCO Y C g C X C Y C OO h ! YC YC CXC YC p
CC CC CC CC CC CC CC CC C C C C C C C C
! YC YC C
CC C CC C CC CC C CC C CC C C
CYC C C YC YC YC YC C YC
C T W CC CC CC CC CC CC W C
C C
#
CC CC C C
XC XC
PEL01k Adagio Sostenuto © Alexander Turnbull Library Endowment Trust PEL01 – 40 This edition © 2011 Promethean Editions Limited
CC CC CC CC C C C C
C
CC CC CC C C C
CC CC CC CC C C C C
CC CC CC C CC CC C C CC
C
C
CO CO
YC C
C YCO C CC C Y C O #
C
CC CC CC CC CC CC CC C C C C C C C CYC C C
CC CC CC CC CC CC CC CC C C C C C C C C
YC YC C C
CC
WC XC YC C h
XCO XCO
CC T CC CC CC CC CC CC CC C C C C C C C C pp O YC YC YCO h ! g YC O YC YC p !
C
XC
B
CC C CC C CC CC CC CC C CC C C C C C C C
!
13
17
XC
B
C T W CC CC CC CC CC W CC C
g
YC YCO
!
C
g
CC CC CC C CC C CC C C C C CC C C C C CC
YCO C YCO C
g
poco crescendo
!
g
YC YC C Y C YC
ISMN M-67542-124-6
21
25
29
CC X CC CC CC CC C C C C C C C # C C
CC CC Y CC C C C YC YC C C Y C Y C ! YC YC C C C CC CC CC CC CC CC CC CC C C C C C C C C
!
W CC CC W ! WC C mf # C C C C
CC CC CC CC CC W W CC W W CC C C C C C WC WC
C C C C C WC C C C C C WC
sempre cresc.
WC C C C W CC CC CC CC W ! ff WC # h WCO WCO
g
CC CC !
X -C X C C h - - W C- W C-
W -C
C C C C W CC CC CC CC CC CC CC CC W C C C C T g WC XCO WC XCO
dim.
h
CC CC CC C C C WC C C
C C W CC CC CC C C C C C C CWC
#
!
WCO WCO
CC CC CC CC C C C C C #
C
C
W -C X C C W C h - - - W C#
XCO XCO h
-B
C
CC CC CC CC WC C C C C C C C WA W W C C C C C C C C C C C C W C C C C C C C C W AA C
rall.
!
C- O
C-
PEL01 – 41
g
S
B
-
d
C T W CC Ch
C
W CC CC CC CC CC W CC W CC X CC WC C C C C C C C
V W CC CC CC CC CC CC CC W V CC WC C C C C C C VC
CC CC CC CC CC C C C C C
C C
WC WC W C W C-
CC W CC C C CC CC C C C C C C C C C ! C
#
C
-C
pp C
C
BO BO
andante commodo Andante commodo C = c.58
C
! 44 C C Y C C mp WW BB # 4 R 4 !
4
C # C
g
! C
7
# R !
10
!
C C
! 16
.C .C .C C h
C
WC WC WC
13
# CC h
BB
C
B
.C .C .C C h
C
WC WC ! C
g
C WC YC XCO R
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ISMN M-67542-124-6
still music for w.n.r. Andante semplice C = c.72
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ISMN M-67542-124-6