Ignace Joseph Pleyel’s Parthia in Dis: A Study and Critical Edition

D.M.A. Document

Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University

By John Anthony Oelrich Graduate Program in Music

The Ohio State University 2012

DMA Document Committee: Russel Mikkelson, Advisor Richard Blatti Robert Ward Charles Atkinson

Copyright by John Anthony Oelrich 2012

ii

Abstract

Though he has slipped from the mainstream of music history, Ignace Pleyel was a significant figure in the musical life of the late 18th to early 19th centuries. He was a significant musical figure in many of Europe’s major cities, and for a number of years his works were published more than any other composer. Writing in large scale orchestral and chamber settings, Pleyel’s contributions to the repertoire are representative of the musical style associated with Classical period while also containing unique features.

Pleyel’s Symphonie Concertante in Eb was a popular piece throughout Europe from approximately 1790 -1810 as evidenced by the 79 published editions and 38 manuscript extant copies. Of these settings, there are two wind arrangements in the form of manuscript parts in the Badische Landesbibliothek in Karlsruhe, Germany. The older of these sets, shelf mark Don Mus. Ms. 1571, titles the work Parthia in Dis and was used as the primary source for the creation of a critical edition.

A comparison of the two wind arrangements revealed that the structure, range, tonal scheme, texture, and the placement of thematic and accompanimental material are treated almost identically. It also shows that the Don Mus. Ms. 1571 parts contain a higher level of detail and internal consistency of articulations and dynamics between parts.

iii A comparison was performed between the critical edition produced from Don

Mus. Ms. 1571 and the critical edition of the original symphonie concertante with respect to thematic presentation, tessitura, texture and articulation. Most of the melodic transfers happen at the same pitch level, but several exceptions of octave displacement occur.

Texture between the critical editions is congruent with exceptions of melodic doubling and missing parts. Much like the differences between the wind arrangements, articulations vary by groupings of notes under slurs and the use of staccatos in the wind arrangement when compared to the use of staccatos and strokes in the original symphonie concertante.

An examination of the parts of the three instruments common between the two critical editions revealed that the horn parts in the Parthia in Dis contain almost all of the musical material from the original symphonie concertante, with some additional melodic material. The oboe shows the most differences, with the original symphonie concertante material used in part, but its primary role being the performance of the original string parts.

Though it was not originally scored for Harmonie, the Parthia in Dis is a significant contribution to the wind music of the Classical period because of its inherent style characteristics and musical quality. It is also representative of Pleyel’s compositional style and of the symphonie concertante as a genre.

iv

Dedication

While music is a great passion in my life, there is none greater than my family. This document is lovingly dedicated to: my wife, Ruth, the love of my life and without whom none of this would be possible; our two beautiful children, Owen and Lucy, whose inner

light, creativity and silliness inspires me every day; to Drs. Art and Rachel Serianz for

their unwavering love and support during this adventure; and to our yellow Labrador,

Maia, who without fail, knew exactly when during the creation of this document what I

needed most was to pet a dog.

v

Acknowledgments

The task of a teacher is not to lead the horse to water and make them drink, but rather to make them thirsty. I have been fortunate in my life to have many teachers to inspire my thirst for knowledge and professional development. Sincere appreciation goes to my advisor Russel Mikkelson for his teaching, support and the many opportunities I have been afforded at Ohio State, Richard Blatti for his inspiration, wisdom and great sense of humor, Robert Ward for his support and counsel through this journey, Charles

Atkinson for his insights and assistance into the musicological aspects of this study,

Christopher Woodruff, Rebecca Burkhardt and Randy Grabowski for their inspired teaching, and to Dan Fairchild and Barry Ellis for helping me get started on this path.

Special thank you goes to Beate Ehlig of the Badische Landesbibliothek for assistance in obtaining scans of the manuscripts used in this document and to Roy

Mowatt of Fountayne Editions for his assistance in obtaining primary source material and publishing the critical edition. A sincere thank you also goes to Michael Murray, Sean

Ferguson and Gretchen Atkinson of The Ohio State University’s Music and Dance

Library and Professor Christopher Weait for their help with this research.

vi

Vita

May 1991……………………Spencer High School, Spencer WI 1993…………………………A.A., University of Wisconsin-Marshfield/Wood County 1998…………………………B.S. Music Education, University of Wisconsin-Platteville 1998-2000…………………...Graduate Assistant, University of Northern Iowa 2000-2008…………………...Music Educator, Dubuque, IA 2008………………………….Master of Music, University of Northern Iowa 2008-2009……………………Director of Instrumental Music, Loras College 2009-2012……………………Graduate Teaching Associate, The Ohio State University 2012-present………………….Director of Bands, The University of Tennessee at Martin

Publications

Ignace Joseph Pleyel. Parthia in Dis. Critical Edition by John Oelrich. Fountayne Editions: London, 2012.

Fields of Study

Major Field: Music

vii

Table of Contents

Abstract…………………...…………………………………………………………...iii

Dedication...…………………………………………………………………………...v

Acknowledgements…………………………………………………………………....vi

Vita……………………...……………………………………………………………..vii

List of Tables………………………………………………………………………….x

List of Figures…………………………………………………………………………xi

Chapter 1: Introduction and Procedures…………………………..…………………..1

Chapter 2: Background Information for the Genre, Pleyel and his Compositional Style……………………………..……………………………31

Chapter 3: An Analysis of the Parthia in Dis and a Comparison to Pleyel’s Compositional Style…………………………………………………………………..45

Chapter 4: A Comparison of the Two Wind Arrangements and Issues Pertaining to the Preparation of a Critical Edition for Harmonie...... 76

Chapter 5: Summary, Conclusions and Recommendations for Further Research…………………………………………………………………..105

Bibliography…………………………………………………………………………..114

Appendix A: Critical Edition of the Parthia in Dis…………………………………..121

Appendix B: Editorial Remarks and Actions Used in the Construction of the Critical Edition………………………………………………………………....171

Appendix C: Comparison between Don Mus. Ms. 1571 and 1579…………………...185

viii Appendix D: Comparison of the Critical Editions of the Don Mus. Ms. 1571 Wind Arrangement and the Critical Edition of the Symphonie Concertante from the 1792 Imbault Parts……………………………………………………………………………..…….242

Appendix E: Facsimile of first oboe parts from Don Mus. Ms 1597 and 1571………258

ix

List of Tables

Table 1: Criteria for selecting a piece…………………………………………………6

Table 2: Initial list of composers…………………………………………………...…7

Table 3: Composers without entries in the New Grove Dictionary of Music and Musicians…………………………………………………………..……..8

Table 4: Composers with works included in the NAXOS Music Library…………..…9

Table 5: Composers selected based on musical quality ascertained in recordings and in consultation with Professor Christopher Weait…………………10

Table 6: Results of searches for published editions, scholarship and recordings of wind music……………………………………………………………..10

Table 7: Parthia in Dis, Movement I structure, themes, and tonal areas………….…46

Table 8: Parthia in Dis, Movement II structure, themes, and tonal areas………….....46

Table 9: Parthia in Dis, Movement III structure, themes, and tonal areas………...... 46

Table 10: Parthia in Dis, Movement IV structure, themes, and tonal areas……….....47

Table 11: Parthia in Dis, Movement V structure, themes, and tonal areas…………..47

Table 12: Comparison of the movement structure in Pleyel’s symphonie concertantes………………………………………………………………………...…70

Table 13: Common identical transfers of string to wind parts……………………...... 99

Table 14: Source material of wind arrangement oboe material and destination of original material……………………………………………..103-104

x

List of Figures

Figure 2.1: A wind band in the establishment of the Prince of Oettingen-Wallerstein, 1791………………………………………………………….34

Figure 3.1: Theme I excerpt in clarinets and horns, m. 1-4…………………………..48

Figure 3.2: Example of concertante passagework in oboe and bassoon duet, m. 19-23………………………………………………………...…49

Figure 3.3: Example of concertante passagework in clarinet and oboe alternation, m. 24-27……………………………………………………..…50

Figure 3.4: Example of concertante passagework in first clarinet, m. 31-34……………………………………………………………..….50

Figure 3.5: Excerpt of Theme II in clarinets, m. 37-40……………………………….51

Figure 3.6: Example of concertante passagework in first bassoon, m. 51-54……………………………………………………………………………….51

Figure 3.7: Example of concertante passagework in first clarinet, m. 73-77……………………………………………………………………………….52

Figure 3.8: Excerpt of Theme III in first oboe, m. 101-104…………………………..52

Figure 3.9: Example of concertante passagework in oboes in the development, m. 121-125………………………………………………………53

Figure 3.10: Alternation concertante passagework between second clarinet and second bassoon and first clarinet and first bassoon, m. 192-195……………………………………………………………..54

Figure 3.11: First phrase of movement two’s theme in first clarinet, m. 1-8…………………………………………………………………...55

Figure 3.12: Excerpt of Variation I melody in first clarinet, m. 17-24……………….56

xi Figure 3.13: Excerpt of Variation II melody in first bassoon, m. 33-36……………...56

Figure 3.14: Excerpt of Variation III melody in first oboe…………………………...57

Figure 3.15: Excerpt of Variation IV melody in first clarinet, m. 65-68……………..57

Figure 3.16: Excerpt of Variation V melody in second bassoon, m. 81-84…………..58

Figure 3.17: Excerpt of Variation VI melody in first clarinet, m 97-104…………….58

Figure 3.18: Excerpt of Variation VI oboe ornamentation, m 105-112………………59

Figure 3.19: First phrase of Minuet melody in first clarinet, m. 1-8………………….59

Figure 3.20: First phrase of the Trio in oboes, clarinets and horns, m. 29-34………...60

Figure 3.21: First section of Movement IV in first clarinet, m. 1-8…………………..61

Figure 3.22: First phrase of melody in the A section in first clarinet, m. 1-8………...62

Figure 3.23: Extension of phrase and return of first phrase in the A section in first clarinet, m. 19-20…………………………………………………...62

Figure 3.24: First phrase of melody in B section in first oboe, m. 29-36……………..63

Figure 3.25: Excerpt of second section of B section showing doubled duet in clarinets and bassoons with oboe ornamentation, m. 37-40………………………..64

Figure 3.26: First phrase of melody in first oboe in the C section, m. 106-113………66

Figure 3.27: First phrase of Section D melody in first bassoon and first clarinet, m. 174-181……………………………………………………….....67

Figure 3.28: Excerpt of concertante passagework in first oboe, first clarinet and second bassoon in the Coda, m. 215-222…………………………....68

Figure 4.1: Example of title page in Don Mus. Ms. 1571……………………………..79

Figure 4.2: Example of title page of the collection Don Mus. Ms. 1597 showing shelf mark and representative composers……………...80

Figure 4.3: Example of the first page of the first oboe part in Don Mus. Ms. 1597 showing the collections numbering system…………………...81

Figure 4.4: Example of first clarinet part in Movement I, m. 1-100 of

xii Don Mus. Ms. 1597…………………………………………………………………....82

Figure 4.5: Example of first clarinet part in Movement I, m. 1-100 of Don Mus. Ms. 1571…………………………………………………………………....83

Figure 4.6: Example of rhythmic differences between Don Mus. Ms. 1597 and 1571 the first oboe, Movement I, m. 173-174…………………....84

Figure 4.7: Example of the arpeggios in second horn in Movement I, m. 192 & 194 of Don Mus. Ms. 1597………………………………...... 85

Figure 4.8: Example of crescendo dynamic wedge in second horn in Movement I, m. 15-17 of Don Mus. Ms. 1571……………………………...... 85

Figure 4.9: Excerpt of first clarinet melody Movement II, Variation III, m. 33-48 of Don Mus. Ms. 1597……………………………………….86

Figure 4.10: Excerpt of first oboe melody Movement II, Variation III, m. 33-48 of Don Mus. Ms. 1597…………………………………….....87

Figure 4.11: Excerpt of first horn melody Movement II, Variation IV, m. 65- 76 of Don Mus. Ms. 1597………………………………………87

Figure 4.12: Second bassoon melody Movement II, Variation V, m. 81-96 of Don Mus. Ms. 1571……………………………………………………...88

Figure 4.13: Example of smudge in first oboe, Movement I, m. 24………………….90

Figure 4.14: Example of unclear dynamics in first oboe, Movement I, m. 137-138……………………………………………………………...91

Figure 4.15: Example of first clarinet articulation issues in Movement III, m. 1-2………………………………………………………………....91

Figure 4.16: Example of smudge in first clarinet in Movement III, m. 43…………………………………………………………………………………..92

Figure 4.17: Example of misaligned dynamic in first clarinet, Movement I, m. 178…………………………………………………………………..92

xiii

CHAPTER 1: Introduction and Procedures

When viewed in the context of the combined compositional output of a musical style period, the works of a small number of composers are representative of all of the composers working in that period. This phenomenon of recognition and subsequent characterization seems typical across art forms. When significant developments are made, an identity of style is created with the works of those people who initiated the developments, those whose style is similar, and those who were prolific. As is often the case, these representations do not occur during the artist’s lifetime, but are rather a superimposition of later generations upon their works.

While the works of the master composers often characterize the style and receive the majority of the attention from scholars and performers, there were hundreds of composers from each period writing with the masters. Some of these so-called minor composers were nearly as innovative, popular and prolific as their better-known contemporaries, yet history simply has not yet recognized them to the degree that they perhaps deserve. In some cases the minor composers were equal to or more popular than the masters during the period in which they lived. Oftentimes these minor composers were students of the masters.

Since the majority of scholar’s and performer’s attention has been focused on the master composers, there are large bodies of musical literature written by lesser-known

1 composers, some of which is of excellent quality, lying dormant. Libraries around the world, especially in Europe, contain vast amounts of music that has not been heard in several hundred years.

Certainly these works had a function and purpose during their composer’s lives.

Music served a myriad of purposes during each period including religious, court and civic function and entertainment. It would be naïve to assume that the proportionally few master composers, well known today, fulfilled the considerable number of sacred, civic and court needs throughout Europe. The minor composers and their works served a significant function in the culture of their times. Interestingly, many of these composers supplemented their income in a related field, i.e. teaching, publishing, performance, and instrument making.

One of the Classical period’s most beloved composers was Franz Josef Haydn.

Like many of the composers who held a position at court or chapel, he was also a teacher.

One of his favorite students was Ignace Joseph Pleyel (1757-1831) who studied with

Haydn for five years, after which time he became his friend.1 Pleyel’s music was quite popular in amateur and professional circles as well as receiving praise from his critics and peers. In a letter to his father on April 24, 1784, Mozart writes:

“…also some quartets by a certain Pleyel have just been published; he is a pupil of Joseph Haydn. If you don’t know them, try to get a hold of them; you’ll find them worth your while. They are well composed and most pleasant to listen to; you’ll hear at once who his Teacher was. It would be a fortunate day for music, if someday Pleyel were able to be the new Haydn for us!2

1 Fétis, Biographie universelle des musiciens, 75-79. Translated by Raymond Smith. 2 Spaethling, Mozart’s Letters Mozart’s Life, 368.

2 Pleyel’s music waned in popularity during the later years of his life and he was largely forgotten by 1830. Similarly, scholarship focused on Pleyel and his music was scant until 1977, when musicologist and music librarian Rita Benton produced a thematic catalog of his compositions. She also published several articles on his life and works as well as a sourcebook of works printed by his publishing house.

In the repertoire of the wind band, the majority of Classic period repertoire regularly performed comes from the master composers. Serenades and divertimenti of

Mozart and the octets of Haydn and Beethoven are often standard choices when the conductor of a wind band seeks to program literature from the Classical period. Recent historical wind band research has shed light on the works of composers such as Krommer and Wendt.3 In the first of a series of articles on the Vienna Octet School, wind band scholar David Whitwell cites the “gold mine” of dissertations and thesis topics present in the wind works of these minor composers.4 Unfortunately, many composers and their works for winds are still largely unknown.

Ignace Pleyel is known today primarily for his string quartets, symphonies, chamber music and symphonie concertantes, as well as his work as a music publisher and instrument maker. Many of his works have been produced in modern editions. In addition to his output in these genres, there also exists a sizable body of repertoire for

Harmonie.

During Pleyel’s life, there were no copyright laws, hence composers were at the mercy of anyone who desired to copy or arrange their works. Because of the popularity

3 See Olson and Wolynec. 4 Whitwell, “The Incredible Vienna Octet School,” 31.

3 of Pleyel’s music, it was arranged for many different combinations – both with and without the composer’s permission. It was this unwanted piracy that motivated Pleyel to start his own publishing house in Paris.

“The friends of my chamber music will be pleased that I am turning to them with my new undertaking, and I hereby invite them in the friendliest fashion to support me efficiently with their kind assistance. The disagreeable emphasis, the often mutilated renditions of my works, which up to now robbed me completely of the fruits of my labor…all these reasons persuade me to become my own publisher and manager of the public good in the future.”5

The majority of Pleyel’s wind works listed in The Wind Ensemble Catalog are arrangements of previously composed material. As was the case with many composers, previously composed material was often reused for other purposes. Handel’s oratorio

Messiah and Mozart’s Serenade in E-flat, K. 375 are well-known examples. In Pleyel’s case, however, it is unclear whether or not he authorized the arrangements or they were renditions completed by other copyists or musicians without the composer’s knowledge.

Many of the arrangements of Pleyel’s work for Harmonie are discontiguous conglomerations of movements from string quartets and symphonies. Of the works listed in The Wind Ensemble Catalog, there exist two original and forty-seven works that may be original compositions for the medium. Of these, twelve are in British libraries, one in a private collection, one in Russia, and thirty-two in Czech libraries. During the time that

Rita Benton researched and published her Thematic Catalog, the majority of these works were inaccessible due to the political climate in what was then Czechoslovakia and the

Soviet Union.

5 Benton, Pleyel as Publisher, x.

4 The primary focus of this document will be Pleyel’s Parthia in Dis, No. 6, B. 111.

This work is a contemporaneous arrangement of his popular Symphonie Concertante in

E-flat Major that was premiered as part of the Concert des amateurs on December 8,

1786 in Strasbourg, France. At the time, Pleyel was the assistant to Kapellmeister Franz

Xavier Richter at the Strasbourg Cathedral. The Concert des amateurs was a concert series sponsored by city of Strasbourg and directed by Johann Phillipp Schönfeld, a composer, conductor and then concert director for the city, and Pleyel.6 The popularity of this work coupled with the lack of control composers exercised over their works during this time period led to dozens of arrangements. The original setting alone was published ten times by seven publishing houses between 1788 and circa 1800. In addition, the work was published in various arrangements seventy-nine times.7 None of the published editions were done by Pleyel’s own publishing house, as it was not yet in existence. While a majority of these arrangements are for the contiguous work, some were extractions of one or more movements. Thirty-eight copies of the work also exist in manuscript form, none of which are the autograph.8

Methodology and Procedures

One of the most comprehensive catalogs of wind ensemble works is The Wind

Ensemble Catalog by Jon A. Gillespie, Marshall Stoneham and David Lindsey Clark. It contains listings of works by major and minor composers from early Baroque through the

20th century. Because in contains entries for wealth of virtually unknown composers

6 Zsako, The String Quartets of Ignace J. Pleyel, 24. 7 Benton, Ignace Pleyel: A Thematic Catalog of his Compositions, 11-17. 8 Répertoire Internationale des Sources Musicales.

5 whose works are overshadowed by the masters, this is the best source available for bibliographic information on works for the chamber wind medium. Many of these composers have had little to no scholarship focused on them. With the intent of selecting a piece that had not yet been subjected to rigorous scholarship and in order to do an exhaustive search of all possibilities, each composer entry of The Wind Ensemble

Catalog was examined to look for possibilities with the following criteria:

A. Composer who was active during the time from the Classical through early Romantic periods B. Original work for the medium C. Significant in length – multi-movement – at least three D. Instrumentation - at least 8 parts E. No modern edition extant

Table 1: Criteria for selecting a piece.

After surveying the Catalog, the following composers (in alphabetical order) were included in the initial list:

1. Aiblinger, Johann Caspar 2. Bach, Wilhelm Frederich Ernst 3. Batiste, Antoine-Edouard 4. Berlotti, Guiseppe 5. Berr, Frederic 6. Bonno, Joseph 7. Druschetzky, Georg 8. Fanucchi, Domenico 9. Fiala, Josef 10. Fuchs, Johann Nepomuk 11. Galotti, Allesandro 12. Gassmann, Florian Leopold 13. Haeffner, Johann Christian Friederich

continued

6 Table 2: Continued.

14. Hammerl, Paul Cornelius 15. Hoffmeister, Franz Anton 16. Jomelli, Niccolo 17. Kozeluch, Leopold Anton 18. Krommer, Franz 19. Lowenstein-Wertheim-Freunenberg, Carl 20. Mabellini, Teodulo 21. Masek, Frantisek 22. Myslivecek, Joseph 23. Neubauer, Franz Christoph 24. Paisiello, Giovanni 25. Parizek, Alexis Vincent 26. Pleyel, Ignace Joseph 27. Puschmann, Josef 28. Reicha, Josef 29. Righini, Vincenzo 30. Rosetti, Franz Anton 31. Schiedermayer, Johann Baptist 32. Schmid, Josef 33. Schmittbauer, Joseph 34. Spiller, Joseph 35. Stamitz, Carl Philipp 36. Triebensee, Josef 37. Wagner, Richard 38. Wendt, Johann Nepomuk 39. Witt, Christian Friderich 40. Zapf, Johann Nepomuk 41. Zasche, Anton

Table 2: Initial list of composers.

After the initial list was determined, the New Grove Dictionary of Music and

Musicians was consulted in order to determine what, if any, scholarship had been devoted to them. Composers without entries were eliminated from the list. This action was taken not because of their potential lack of worth, but because the lack of extant research would produce a scope too large for this document. Composers without entries included:

7

1. Berr, Frederic 2. Fanucci, Domenico 3. Galotti, Allesandro 4. Hammerl, Paul Cornelius 5. Lowenstein-Wertheim-Freunenberg, Carl 6. Parizek, Alexis Vincent 7. Schiedermayer, Johann Baptist 8. Schmid, Josef 9. Spiller, Joseph 10. Zapf, Johann Nepomuk 11. Zasche, Anton

Table 3: Composers without entries in the New Grove Dictionary of Music and Musicians.

Next, the NAXOS Music Library was consulted to see if the remaining composers had works recorded. The following composers’ works have recordings in the NAXOS

Music Library:

8

1. Ablinger, Johann Caspar 2. Bach, Wilhelm Frederich Ernst 3. Druschetzky, Georg 4. Fiala, Josef 5. Fuchs, Johann Nepomuk 6. Haeffner, Johann Christian Friederich 7. Gassmann, Florian Leopold 8. Hoffmeister, Franz Anton 9. Jomelli, Niccolo 10. Kozeluch, Leopold Anton 11. Krommer, Franz 12. Mabellini, Teodulo 13. Myslivecek, Joseph 14. Neubauer, Franz Christoph 15. Paisiello, Giovanni 16. Pleyel, Ignace Joseph 17. Puschmann, Josef 18. Reicha, Josef 19. Righini, Vincenzo 20. Rosetti, Franz Anton 21. Schmittbauer, Joseph 22. Stamitz, Carl Philipp 23. Triebensee, Josef 24. Wagner, Richard 25. Wendt, Johann Nepomuk 26. Witt, Christian Friderich

Table 4: Composers with works included in the NAXOS Music Library.

Recordings of the above composers were listened to in order to ascertain the style and quality of the composer’s work. Professor Christopher Weait, an expert in the study and performance of Harmoniemusik, was consulted for his reactions to the list. Based on the qualities heard in the recordings and in consultation with Professor Weait, the focus was narrowed to the following composers:

9 1. Druschetzky, Georg 2. Gassmann, Florian Leopold 3. Hoffmeister, Franz Anton 4. Kozeluch, Leopold Anton 5. Paisiello, Giovanni 6. Pleyel, Ignace Joseph 7. Righini, Vincenzo 8. Rosetti, Franz Anton

Table 5: Composers selected based on musical quality ascertained in recordings and in consultation with Professor Christopher Weait.

Through Internet searches in the websites of Répertoire International de la

Littérature Musicale (RILM), ProQuest, Shattinger Music, Consortium Classicum, Engel

Music, Bastiaan Blomhert, Amazon.com, and David Whitwell the following information was gleaned:

1. Druschetzky – Scholarship: Dissertation; published editions; recordings extant 2. Gassmann – Potential; published editions; no recordings 3. Hoffmeister – Potential; one published edition; recordings extant 4. Kozeluch – Potential; no published editions; recordings extant 5. Masek – Potential; one published edition; recordings extant 6. Paisiello – Potential; recordings extant 7. Pleyel – Potential; one published edition; recordings extant; 8. Righini – Potential; no recordings or published editions 9. Rosetti – Potential; published editions; recordings extant

Table 6: Results of searches for published editions, scholarship and recordings of wind music.

From the combined results, the focused narrowed to the works of Hoffmeister,

Pleyel, and Masek. A Répertoire International des Sources Musicales (RISM) search revealed that many manuscripts by Hoffmeister, three by Pleyel, and one by Masek

10 resided in the same library: the Fürstlich Fürstenbergische Archiv in Donaueschingen,

Germany. The Donaueschingen collection comprises approximately 160 wind works, both original compositions and arrangements, that would have been used by the court’s

Harmonie.9 After exchanging electronic correspondence with the Archiv, it was learned the collection was sold to the Badische Landesbibliothek in Karlsruhe, Germany – after

The Wind Ensemble Catalog (which had them listed in Donaueschingen) was published.

Digital scans of the works by these and other composers were purchased in April of 2011 bearing the shelf marks Don Mus. Ms. 767, 1570, 1572, 1597, 1679, and 2201.

Because these works were contained in collections with those by other composers, the end result of the order was forty-one partitas, only two of which have been recorded and six of which had been subjected to scholarly inquiry.

On June 8, 2011, the author assembled a group of musicians to sight-read a sampling of the partitas obtained in order to ascertain their quality. Of the original forty- one partitas that were purchased, five were selected to be read on the basis of length, musical quality, and scholarly potential – two by Pleyel, one by Hoffmeister, one by

Rosetti, and one by Kurzweil. After the reading session, one of Pleyel’s compositions was chosen based on its length and musical quality. The work used as the focus of this research is Pleyel’s Parthia in Eb, shelf mark Don Mus. Ms. 1597, no. 1. It contains five movements: Allegro, Andante con variazio (six variations), Menuetto, Adagio and Rondo

Presto.

9 Blomhert, “Zur Harmoniemusik am Donaueschunger Hof,” In Zur Geschichte und Aufführungspraxis der Harmoniemusik, 213.

11 Subsequent research revealed several interesting facts. From cross-referencing

Benton’s thematic catalog number from the RISM entry, the original form of the work was determined to be a symphonie concertante. Searching the thematic catalog number of the Symphonie Concertante, B. 111 in RISM, it was determined that an additional set of manuscript wind parts existed in the same library under the shelf mark Don Mus. Ms.

1571. Benton brought a microfilm containing this work and several others to the

University of Iowa, where she was the music librarian. The Don Mus. Ms. 1571 parts contained significantly more information with respect to articulations and dynamics and also had differences in the setting of the original concertante material.

In an effort to ascertain the authenticity of the wind arrangements, all of the RISM entries for the thematic catalog entry B. 111 were examined. Since there were thirty-six other manuscript arrangements of the original work, the idea of obtaining copies of them to attempt to match to the composer’s penmanship was abandoned in favor of obtaining copies of contemporaneously published first or second editions. The following libraries with holdings of these items were contacted through electronic messaging: the

Universitní in Brno, Czech Republic, the Universitätsbibliothek in Münster, Germany, the Deutsche Staatsbibliothek in Berlin, Germany, the Biblioteka Uniwersytecka in

Wrocław, Poland, the Narodna in Univerzitetna knjižnica in Ljubljana, Slovenia, the

Central Public Library in Manchester, England, and the Sibley Music Library in the

Eastman School of Music, Rochester, NY. Reponses were received from the Biblioteka

Uniwersytecka, the Sibley Music Library, and the Deutsche Staatsbibliothek. Of those that responded, the Biblioteka Uniwersytecka was the only library to have the work in their collection. The Deutsche Staatsbibliothek has record that the piece was included in

12 their collection, but it has been lost since World War II. The Sibley Music Library also has a record of the work in their collection but the work is missing. At the same time this research was being conducted, a the existence of a modern critical edition of the original symphonie concertante form of the piece was discovered.

In 2009, Christopher Mowatt of Fountayne Editions published a critical edition of the source material for the Parthia in Dis, Pleyel’s Symphonie Concertante in Eb. The front matter of the Mowatt critical edition shows that the primary source used in the construction of the critical edition was a second edition set of parts published by J.J.

Imbault in Paris, 1792. Because of the difficulty in obtaining a published first edition,

Fountayne Editions graciously provided digital copies of the second edition Imbault parts

Christopher Mowatt used in creating his edition.

Using both sets of manuscript wind parts, with emphasis on Don Mus. Ms. 1571, along with the second edition set Imbault parts, a critical edition of the wind version of the piece was produced and performed on the author’s D.M.A. Chamber Recital, with the author conducting on February 18, 2012 in Weigel Auditorium on the campus of The

Ohio State University.

While the Parthia in Dis does not satisfy the initial criteria of “an original work for the medium,” its contemporaneous popularity as evidenced through Benton’s

Thematic Catalog and RISM and its inherent musical quality merit attention and further research.

There are two instances that provide evidence of public performances of Pleyel’s

“celebrated concertante”: its premier on the Concert des amateurs series in Strasbourg,

13 France and a performance as part of the Hanover Square Concerts in London.10 From this documentation, it is evident that this piece was created for a concert performance rather than functional purposes such as music to accompany a stroll through the garden or a meal.

Statement of the Problem

Given the above information and a cursory examination of the wind parts, several problems presented themselves.

1. What is the chronology of the creation of the wind parts Don Mus. Ms. 1597

for the Parthia in Dis? On what source were they based?

2. For what purpose were the wind parts created and by whom?

3. What are the arranger’s solutions to issues of tessitura, texture and

articulation?

4. How do the parts that are common between the original symphonie

concertante and the wind arrangement compare?

5. The errors in Don Mus. Ms. 1597 required the creation of a critical edition,

which also provides access to the piece through publication.

In the process of conducting the research for the above problems, additional issues presented themselves. These include:

1. How does the Parthia in Dis compare to other works of Pleyel with regard to

the compositional characteristics of movement structure, form, thematic

presentation and tonal organization?

10 Benton, Ignace Pleyel: A Thematic Catalog of his Compositions, 11-17.

14 2. How does the initial set of manuscript wind parts obtained, Don Mus. Ms.

1597, compare with the second manuscript set, Don Mus. Ms. 1571? What is

the chronology of Don Mus. Ms. 1571? How are the two sets related?

3. How do the editions of wind parts compare to the second edition published by

Imbault in 1792? How do the published editions compare?

4. How does the Parthia in Dis relate to Pleyel’s other symphonie concertantes?

Need for the Study

Despite the fact that Ignace Pleyel is not widely regarded as a significant composer from the Classical period, he was prolific and his works were immensely popular during his lifetime. In addition to Benton’s catalog, there has been scholarship in the form of doctoral dissertations focused specifically on his works – the periodic symphonies, ensemble music original composed for keyboard, string quartets, and chamber music. This research will be discussed in the Review of Literature later in this chapter. Other scholarship has included him tangentially – discussions of Haydn, the

Professional/Salomon Concerts, his publishing house and piano factory and his contributions to various genres.

To date, no research has focused on Pleyel’s music for winds, either the original works or arrangements of previously composed material. From the production of a critical edition of his Parthia in Dis, it is hoped that Pleyel’s music will receive attention and performances from modern wind bands and that this critical edition might enhance the wind band’s repertoire from the Classical period. It is also hoped that this research leads to further interest in the wind works of Pleyel and other minor composers. This

15 document will focus on Pleyel and his Parthia in Dis because of its inherent musical quality, its representation of Pleyel’s compositional style and its popularity as evidenced by its large number of publications and arrangements.

“Musical aficionados of the twentieth century hear very little music that is truly characteristic of the eighteenth century musical diet. Mozart, Haydn and Beethoven were gourmet fare, not everyday musical victuals. Research on a minor composer like Pleyel, if not always rewarding on purely artistic ground, is amply justified for its revelations of what pleased the critical palate of the time.”11

Definition of Terms

The following terms, used in the Introduction and throughout the remainder of this study, will be defined as follows:

Harmonie: A court and/or civic wind band of the late 18th to early 19th centuries whose nucleus contained pairs of oboes or clarinets (or both), horns and bassoons.12 The term is also applied to the wind section of the orchestra.13 In addition to defining the construct and historical basis of the ensemble, the term Harmonie can also refer to a musical work whose orchestration contains the above instruments in either the same or some larger or smaller configuration. Flutes, trumpets, contrabassoon, double bass,

English horns and basset horns were frequent additions to the core instrumentation.

Harmoniemusik: Music written for an ensemble consisting of a mix of woodwind and brass instruments, typically pairs of oboes or clarinets (or both), horns, and bassoons.

11 Hornick, “The Ensemble Works of Ignaz Pleyel,” 29. 12 Baines and Sadie, “Harmonie.” In Grove Music Online. 13 Ibid.

16 This term can be used synonymously with the term Harmonie with respect to a musical work.

Symphonie Concertante: The Grove Dictionary of Music and Musicians defines symphonie concertante as:

“a concert genre of the late 18th and early 19th centuries for solo instruments –

usually two, three or four, but on occasion as many as seven or even nine – with

orchestra. The term implies ‘symphony with important and extended solo parts’,

but the form is closer to concerto than symphony.”14

Parthia (Partie, Parthie, Partia, Parthia): Most commonly known as partita, it was originally a term meaning variation or suite. The partita lost its connection to variations in the early 18th century but retained the suite meaning. It is used synonymously with the term divertimento, which during the late 18th century was a generic term applied to soloistic ensemble music.15 The term Parthia is used in this document to refer to the wind band arrangement of the Symphonie Concertante in E-flat major by Ignace Joseph Pleyel.

Minor composer: A composer whose output was significant during his or her lifetime and whose works have fallen out of the core repertoire of modern performers.

Periodical symphony: Works that were published individually rather than as a group under one opus number. These were often released in monthly and even weekly installments.

14 Brook and Gribenski, “Symphonie Concertante.” In Grove Music Online. 15 Fuller and Eisen, “Parthia.” In Grove Music Online.

17 Concertante passagework: In the symphonie concertante genre, non-thematic melodic material inserted between the standard sections of a given musical form. This material was assigned to the solo instruments individually or in combination, and served to provide a virtuosic display for the audience.

Review of Literature

There is no extant research focusing on wind music by Ignace Pleyel, neither arrangements nor original compositions. The scholarship that exists can be divided into three categories: 1) Rita Benton’s bibliographic sources and articles, 2) dissertations focusing on a particular genre in which he wrote, and 3) scholarship in which Pleyel is tangentially referenced. Pleyel is often mentioned in publications regarding Haydn because of their close relationship and the similarity of their compositional styles.

Rita Benton, the noted musicologist and music librarian, has provided two substantial bibliographic resources for individuals pursuing research on Ignace Pleyel.

The Thematic Catalog is a reference source containing incipits, publishers, dates, locations, and other primary source information. It is a particularly useful resource considering the number of times Pleyel’s works were set in genres other than the original, both contiguously and fragmented. The Catalog is divided into chapters by genre. Each genre contains incipits of the original work and entries of each publication of the work detailing the date, publisher, title page information, and library and shelf mark where the entry is located. It also contains records of manuscript sources.

18 Benton’s other bibliographic resource is a compilation of the records of Pleyel’s publishing house. Because Pleyel published several major Classical period composers, this text proves a resource for those pursuing scholarship on Pleyel’s contemporaries.

Additional scholarship by Benton outlines issues faced in the process of producing the Thematic Catalog, which also includes legal disputes between Pleyel, other publishing houses and composers and the problems presented in conducting Pleyel research. The latter is primarily related to dealing with the wealth of publications and arrangements of his works by different publishers, under different opus numbers, with different titles, and in discontiguous amalgamations of movements from various works.16

Five dissertations focusing on four different genres of Pleyel’s music provide useful information for the purpose of this document. Andrew Hornick’s dissertation, written in 1968, was one of the first efforts by 20th century scholars to focus on the music of Pleyel.17 In addition to valuable biographical information, his research reveals a great deal about Pleyel’s style through an examination of his ensemble and solo works originally written for keyboard.

The first movements of the works examined in Hornick’s study are in fully realized sonata form, the developments of which stand out by more fragmented melodic activity, higher intensity of harmonic motion and the energetic use of rhythm.

Recapitulations reduce the number of coordinated musical events and do not always follow the melodic succession of the exposition. Second movements show more diverse formal designs, time signatures and key signatures. They are generally in a three-part

16 Benton, “A la Recherche de Pleyel Perdu,” 10. 17 Hornick, “The Ensemble Works of Ignaz Pleyel.”

19 form, though two part structures and theme and variations also appear. Third movements are predominantly set in rondo form with low harmonic activity.18

Pleyel’s string quartets were immensely popular during his life and his early contributions to the genre serve as the basis of Jiesoon Kim’s dissertation that examines the quartets Op 1-9 written between 1782 and 1786. The three-movement format with the tempo sequence of fast-slow-fast predominates these works. Almost all of the first movements are sonata forms with rondo form appearing most often in the finales.

Texturally, the quartets are mostly homophonic with the first violin melodies written over simple accompaniment with the exception of Op. 9, which are written in a concertante style with other instruments taking a leading role. The slow movements have vocal characteristics with lyrical melodies over an ensemble like accompaniment.19

Because of the scope of the movement structure and length of the work as a whole, the works that are the most congruent with the Parthia in Dis are the symphonies.

Pleyel composed forty-one works in this genre, twenty-nine of which are designated as periodical. The term periodical symphony indicates that the works are published individually rather than as a group under one opus number.20 Brook21 and Carse22 refer to monthly and even weekly publications of such works. For the periodical symphonies of Pleyel, which appear in the Imbault catalogs between 1787 and 1796, there is no evidence of actual periodical publication. In his dissertation on these works, Raymond

18 Hornick, “The Ensemble Works of Ignaz Pleyel,” 282. 19 Kim, “Ignaz Pleyel and His Early String Quartets,” 154-156. 20 Smith, “The Periodical Symphonies of Ignaz Pleyel,” 20. 21 Brook, La Symphonie Française, Translated by Raymond Smith,42. 22 Carse, 18th Century Symphonies, 11.

20 Smith examines them in terms of movement structure, tonality, instrumentation, thematic development, harmonic structure, form, and expressive devices.23

Formally, Smith found that the typical four-movement form (with the minuet after the slow movement) is found in twenty-four of the twenty-nine symphonies. The five exceptions have three types of overall form: two three-movement works (no minuet), one five-movement work (adds a slow theme and variations, and two remaining have three independent movements with the fourth movement incorporated into one of the other movements.24 Tonalities reside in the standard major and minor of the period.

No standard instrumentation is used in the symphonies, but the combination of two oboes, two horns and strings is common in all of the works examined, with a larger wind section used more frequently in the symphonies published after 1787. Flute is added, but is not standard in the later works, and the use of timpani without trumpets occurs throughout, a practice that is rare in the Classical symphony.25

Dynamics range from pianissimo to fortissimo and rarely include mezzo-forte.

Crescendo and decrescendo are standard practice in all works, though the decrescendo is used less frequently. The expressive markings of rinforzando, sforzando and forzando are common. Common ornaments include the long appoggiatura, trill, three-note turn, and the Schleifer, an ornament consisting of two short notes making a conjunct approach to the main note usually with an upward direction. 26 The short appoggiatura is used less

23 Smith, “The Periodical Symphonies of Ignaz Pleyel.” 24 Ibid. 25 Ibid. 26 Ibid.

21 frequently.27 Pleyel makes full use of the harmonic possibilities of the period including secondary dominants and sevenths, diminished triads and sevenths, augmented sixth chords, borrowed chords and chromatic progressions.28

Several complete themes are often found in the expositions in the first movements. In the earlier symphonies, this sometimes included a complete closing theme, the practice of which was almost completely discarded in the later works. The first themes are set in the tonic and are typically more technical, characterized by triadic figures and scale passages. By contrast, the second themes are in the dominant, are typically more lyrical in nature and often use melodic chromaticism. Developments are a restatement, modification or fragmentation of previously used material and almost always use the first theme as source material. The conclusion of the development is indicated by a strong cadence on the dominant. Recapitulations are not standard in any of the works.

The first and second themes are completely restated in the early symphonies and altered in the later.29

Slow movements are found in two basic groups – Andante with a rondo-like theme in rondo or ternary form, or Adagio with cantabile aria-like theme in some type of sonata or ternary form.30 The rondo-like themes are characterized by emphasis on triadic intervals and frequent repeated pitches while the aria-like themes avoid the triad and have expressive quality achieved through rhythmic flexibility, ornaments, and dynamics.31

27 “Schleifer,” In Grove Music Online. 28 Smith, “The Periodical Symphonies of Ignaz Pleyel,” 130. 29 Ibid. 30 Ibid. 31 Ibid.

22 The minuet movements, whose minuet themes are characterized by repeated quarter-note pitches and whose trio themes are more lyrical and scalar are found in almost all of the symphonies. The later symphonies have longer and more developed minuets and frequently make use of solo winds in the trio.32

The final movements are predominantly set in a five-part rondo form in the earlier symphonies with sonata and sonata-rondo form in the later works. Themes are almost exclusively diatonic, frequently begin with an anacrusis, often contain repeated pitches and always open at a piano dynamic. Second and third statements of the A section of the rondo are usually incomplete. Digressions are usually in a contrasting key and are usually closed tonally. Transitions are an integral part of the form and are based on a new motive or motive from previously stated material. The coda, at the end of all movements in rondo and sonata-rondo form, is based on the opening theme.33

While Pleyel’s musical style is similar to that of Haydn and Mozart, there are several features that are uniquely personal. He often uses three complete themes in the exposition of the opening movement. The use of a complete closing theme, sometimes in addition to the original three, is an original practice for this period. The slow movement is sometimes in ABACA rondo form, also an individual approach. Occasionally, Pleyel interpolates a complete movement within a movement.34

The three quintets for flute, oboe, violin, viola, and violincello serve as the focus of Ben Wright’s dissertation.35 While the focus of the scholarship is largely centered on

32 Smith, “The Periodical Symphonies of Ignaz Pleyel,” 138. 33 Ibid. 34 Ibid. 35 Wright, “The Three Quintets for Flute, Oboe, Violin, Viola and Violincello.”

23 the pedagogical value of these works, through his analysis of the compositions, insights into Pleyel’s compositional style can be gleaned.

Sonata form is used in the first movement of each of the quintets and the expositions, developments and recapitulations are well defined in each. The tonal relationships are logical and easily discernible. Developments are brief in comparison to the expositions with each theme of the exposition used to some degree. Recapitulations are clearly defined and remain entirely in the tonic key. Quintets one and three contain two movements total and use theme and variation form in the second movement. The second quintet contains three movements and uses a three-part form in the second movement that moves directly from the second movement into a third movement rondo.36

All three quintets have a smooth and diatonic melodic structure. The movements in sonata form contain contrasting themes, for example, a lyrical theme followed by a more vigorous one. Phrases are constructed in even numbered lengths and generally rise to a high point near the middle and fall to rest near the end.37

Harmony is characteristic of the period with the emphasis on the tonic, dominant, and sub-dominant with dominant seventh, diminished seventh, and secondary dominants also frequently used. Modulations move to closely related keys and are approached through common chords or secondary dominants. Cadences typically use the I6/4 -V7-I progression with half cadences appearing frequently in developmental sections.38

Considering that the technical passages are well planned and suited to the strength of each instrument, Wright believes that Pleyel had a more than superficial knowledge of

36 Wright, “The Three Quintets for Flute, Oboe, Violin, Viola and Violincello,” 33. 37 Ibid. 38 Ibid.

24 all five instruments. Extreme ranges of the woodwinds and strings are avoided and the composer displays a keen sense of balance between the winds and strings, treating them equally as soloists and accompanists. One unique contribution present in these quintets is equitable treatment of the violin and viola in solo passages.39

Julius Zsako’s study on Pleyel’s string quartets reveals that his style shows a unique synthesis of the Viennese classicism of the early 1780s and the late 18th century

Italian chamber music style. This is not surprising considering Pleyel’s study with Haydn and his years in Italy. Stylistically, the quartets hover between Haydn’s opus 17 and opus

33, containing pleasant melodies and fluid expression that combine impressive solo passages with simple quartet writing.40

The structure of the quartets, like that of the symphonies, provides good reference for the analysis of the Parthia in Dis that will be presented in Chapter 3. Of the 57 quartets, 13 contain four movements, 35 contain three movements, and 9 contain two movements. The four movement quartets show noteworthy experimentation with sonata- form procedures and motivic development in the fast and slow movements.41 The

Allegro movements are uncommonly long, often reaching three hundred measures. The three movement quartets display a greater variety of movement sequence, the slow movements of which have an Italian imprint with tempo markings such as Adagio amoroso and Andantino arioso. This influence is also shown in his two movement quartets that open with sonata form and close with variations, some of which include uncommon changes in meter, tempo, and character. Tonally, most of the quartets are

39 Zsako, “The String Quartets of Ignace J. Pleyel,” 364.. 40 Ibid. 41 Ibid.

25 either in major or minor keys. In fourteen of them, all of the movements are in the same key.

Congruent with Wright’s findings, Zsako also cites the virtuosity of the viola in

Pleyel’s quartets. The composer also utilizes the high range of the cello and employs frequent double stops and wide intervallic jump. Flowing melodies are characteristically assigned for solo virtuosic displays. This concertante style of writing dominates throughout the quartets examined by Zsako.42

Also congruent with Wright’s findings, the first movements of the quartets were set in sonata form characterized by sectionalized construction and distinct themes. The dominant sections are the longest and include at least two predominantly lyrical themes.

Complete closing themes are almost always used and are not necessarily related to the earlier themes. The quartets also have substantial developments, using more than one of the themes while exploring four or more tonal areas. Recapitulations are complete and do little to change the exposition’s material, but sometimes set the themes in reverse thematic order. If the motto (the work’s original introductory material) is not present at the beginning of the recapitulation, it often serves as the basis for the coda. 43

The early Adagios used in the slow movements are extensive, containing several groups of themes and some developments. In the later quartets, the lengthy movements are replaced by shorter, simpler, and more lyrical pieces set in two or three part song

42 Zsako, “The String Quartets of Ignace J. Pleyel,” 366. 43 Ibid.

26 form. The variation movements all use stock solo devices and use the advanced procedures of changing keys, meters, structure, and character between variations. 44

The minuet as a movement is used less, but is similar in construction to the

Viennese models. In a few quartets, Pleyel varies the symmetric structure and uses less dance-like themes. Some minuets exist as insertions within other movements.45 While the idea of the insertion of a movement within a movement is the opinion of Zsako, the author of the present study cautions the reader to view this concept with contextually.

For example, if both the outer and inserted sections of the work could function independently of the inserted material, the concept could apply. If not, then the outer sections could be construed as an introduction and coda to the core of the movement.

Finales are in rondo form and show a steady evolution from simple to complex.

The early rondos are in five parts with symmetrical themes that do not vary on returns.

The later works are more motivic in nature and most are in seven parts, especially the

Prussia, Wales, Naples, and Boccherini quartets.

Tangentially related but directly relevant to this study is Kyng-Eun Kim’s dissertation Jean-Baptiste Davaux and his Symphonies Concertantes. Kim traces the history of the symphonie concertante to the concerto grosso of the Baroque period through the works of J.C. Bach, Davaux, Pleyel, and others who wrote specifically for that genre. Primarily a French genre, some of the earliest symphonies concertantes were written by the Mannheimers. Karl Stamitz wrote over 30 of them and J.C. Bach wrote

15. In comparison, the Parisians Giuseppe Maria Cambini and Jean-Baptiste Davaux

44 Zsako, “The String Quartets of Ignace J. Pleyel,” 366. 45 Ibid.

27 wrote 82 and 13, respectively. The works were designed to appeal to the Parisian taste with their lyric and graceful melodies and transparent musical texture. The earliest works were in two movements. The first movements of these works are in ritornello form, the second in rondo with the slow movement omitted. All of Davaux’s concertantes follow this paradigm with only one three-movement work containing a theme and variations as the second movement. The first movements of his symphonies concertantes use sonata form.46

Barry Brook’s articles on the symphonie concertante provide interesting reference for examination of the Parthia in Dis and to the popularity of the genre in general. Brook disagrees with Kim’s belief that the roots of the symphonie concertante lay in the concerto grosso, citing examples of instrumentation, balance, tonality and mood to support his argument. As defined earlier in this chapter, the symphonie concertante is a

‘symphony with extended solo parts.’47 With respect to the Parthia in Dis, the author believes the work to be more congruent with the symphony due to its size and scope.

Brook examined about 210 composers who wrote approximately 570 works specifically titled “symphonie concertante” or the derivations “sinfonia concertante”, or simply “concertante.”48 Slightly less than half of the works had two movements, and almost never had four or five. For the works with two movements, the slow movement was omitted, the form that was preferred in Paris. In the three movement examples, the slowest movements are Andante and rarely Adagio. Final movements are often in Rondo form, though sometimes minuet and trio or theme and variations forms are used. The

46 Kim, “Jean-Baptiste Davaux and his Symphonies Concertantes,” 15-17. 47 Brook and Gribenski, “Symphonie Concertante.” In Grove Music Online. 48 Brook, “The Symphonie Concertante,” 13.

28 genre flourished between approximately 1770-1820 with French composers contributing about half of these works.49

Scholarship by Katsuaki Ichikawa on the Harmoniemusik in the Oettingen-

Wallerstein court outlines the role of wind music in the court and brief information about court composer Antonio Rosetti. The most relevant part of this article to the present study is the appendix, which shows a list of the repertoire used by the court’s Harmonie.

Pleyel has one entry for a Parthia in Es. Unlike the octet instrumentation of the Parthia in Dis, it is scored for nine voices: pairs of oboes, clarinets, horns, bassoons and one contrabassoon. Given the previously discussed issues with unauthorized arrangements of

Pleyel’s music, it is possible that the work listed in the Oettingen-Wallerstein library is the Parthia in Dis with the addition of a contrabassoon part added by an arranger or copyist. Scans of this work were not obtained for examination as part of this study.50

Overview of Remaining Chapters

Chapter Two provides a brief history of Harmoniemusik, a biography of Pleyel, and an overview of his musical output and style. Chapter Three presents an analysis of

Pleyel’s Parthia in Dis, with attention focused on movement structure, form, thematic presentation and development, overall key areas and how this work compares with

Pleyel’s other symphonie concertantes, his contributions to other genres and to the textbook characteristics of the symphonie concertante as described by Barry Brook and

Kyung-Eun Kim. Chapter Four contains a comparison of the two sets of manuscript

49 Brook, “The Symphonie Concertante,” 13. 50 Ichikawa, Katsuaki. “Harmoniemusic am Hof von Oettingen-Wallerstein,” In Zur Geschichte und Aufführungspraxis der Harmoniemusik, 219-235.

29 wind parts used to produce the critical edition presented in Appendix A. This comparison highlights the major differences in the presentation of formal, thematic, rhythmic and expressive material. In addition, a comparison of the critical edition of the wind arrangement to the critical edition of the original setting based will show how the arranger(s) of the wind settings dealt with issues of melodic presentation, orchestration, range, expressive devices, and form. Chapter Five presents a summary of the study’s findings and recommendations for further research. Appendices will follow containing the critical edition of the Parthia in Dis (Appendix A), editorial decisions made in the process of producing the critical edition for Harmonie (Appendix B), differences between the two sets of Harmonie manuscript parts (Appendix C), a comparison of the critical editions (Appendix D) and examples of the two sets of manuscript parts used to produce the critical edition (Appendix E). For the purposes of discussion, the two wind arrangements in manuscript part form will be referred to by their shelf marks: Don Mus.

Ms. 1571 and Don Mus. Ms. 1597.

30

CHAPTER 2: Background Information for the Genre, Pleyel and his Compositional Style

A Brief History of Harmoniemusik

Harmoniemusik is a term applied to both wind bands and their repertoire from the mid-17th to early 18th centuries. Generally speaking, a Harmonie is a small wind ensemble containing of at least five players. The typical instrumentation of a Harmonie consists of pairs of oboes, clarinets, horns, and bassoons, but occasionally exists in slight augmentations or diminutions from this base. A tradition that started from outside sources, the ensemble came to maturity in central Europe, primarily flourishing in aristocratic circles centered on the Austrian-Bohemian-Hungarian triangle formed by

Vienna, Prague, and Budapest.51 As is the case with many of the developments of

Western music, this ensemble spread with the travels of visiting nobility and musicians from other areas until it had representations in all of the major courts on the European continent, including England. This ensemble would not only serve an important functional and musical role at courts but would also serve as the basis for the orchestral wind section.

The birth of Harmoniemusik lies in the emergence of a new wind band medium modeled after the Les Grands Hautbois of Louis XIV in France. The Les Grands

Hautbois was a twelve-member oboe and bassoon band that was imitated by the courts

51 Whitwell, A Concise History of the Wind Band, 156.

31 throughout Europe, as French taste, music, etc. were in vogue.52 The German version of the French band, the Hautboisten, appeared in Germany in the late 17th century. This name served a dual purpose, both for ensembles in the military and for the court concert band, but they existed as two separate ensembles. Evidence of the Hautboisten exists in

Stuttgart (1680), Weissenfels (1695), Dresden and Gotha (1697), and Gottorf (1699). 53

By 1700, almost every great German court had a band. The Hautboisten existed from 1680-1730 in an instrumentation of oboes and bassoons. Horns, traditionally not accepted into the indoor concert ensembles, were added to the band in Bohemia in the early 18th century. This addition travelled east. At this point, the new ensemble was

Harmoniemusik in all but name. The oldest extant music, from a Saxony military unit and written for oboes, bassoons and horns, is dated from 1729.54 Repertoire for this ensemble contains works by Telemann and Handel and the tradition flourished at courts throughout central Europe.

In 1776, Prince Schwarzenburg of Vienna introduced a group consisting of pairs of oboes, English horns, horns and bassoons. There is evidence that the band existed in octet form with clarinets as early as1770. In the documentation of his travels, Charles

Burney remarks:

“There was music every day, during dinner, and in the evening at the inn where I lodged, the Golden Ox; but it was usually bad, particularly that of a band of wind instruments. This consisted of French horns, clarinets, hautboys, and bassoons; all so miserably out of tune that I wished them a hundred miles off.”55

52 Whitwell, A Concise History of the Wind Band, 112. 53 Ibid. 54 Ibid. 55 Burney, An Eighteenth Century Musical Tour, 165.

32 Surely Burney did not hear a court ensemble at his inn, for clarinets were not used in the imperial court until 1784.56

Harmoniemusik came of age in Vienna under the court of Emperor Joseph II, when in 1782 he appointed an ensemble consisting of the finest available players on oboe, English horn, horn and bassoon, all of whom were already full-time musicians in the court opera orchestra. While at that time the court did not have clarinets, it did have some of the finest oboe players in Europe, including Johann Wendt and the father and son duo of Georg and Joseph Triebensee. Wendt and Joseph Treibensee would play important roles not only as musicians but also leaders of ensembles and arrangers of stage music for the medium. Clarinets were added to the ensemble in 1784 with the arrival of the Stadler brothers, Anton and Johann.57

From this point forward, the standard instrumentation of the Harmonie was pairs of oboes, clarinets, horns and bassoons. Flutes and English horns were also used depending on the availability of clarinets. The serpent, double bassoon and double bass were frequently added to give the ensemble support, resonance, and 16’ quality of sound.58 It was for this ensemble that the well-known works of Mozart, Haydn,

Beethoven and many other minor masters were created.

Court Harmonien served a number of purposes. These included major court ceremonies, the hunt, parties, and for special events, as well as during meals and other social events. Concerts were rare, but documented, especially performances of popular operas of the time.

56 Whitwell, “The Incredible Vienna Octet School: Part I,” 33. 57 Ibid. 58 Hellyer, “Harmoniemusik,” In Grove Music Online.

33 Iconographical evidence suggests that Harmonien were not conducted in the modern definition of the term. Rather, a member of the ensemble, usually a principal player of a treble instrument, led them.59 Once parts were extracted, scores were frequently misplaced or lost. Because of this, few scores of these works remain and many works exist only in part form.

Figure 2.1: A wind band in the establishment of the Prince of Oettingen-Wallerstein, 1791.60

During the Napoleonic wars, many of the Viennese courts discontinued patronage for their Harmonien. Only the ensembles of the emperor and Prince Lichtenstein

59 Whitwell, “Krommer: Early Wind Master.” 21-24. 60 Archiv des Fürsten zu Oettingen-Wallerstein.

34 survived into the 1830s. References to Harmoniemusik beyond this are rare, the ensemble having been replaced by the full orchestra.61

A Brief Biography of Ignace Pleyel and Overview of His Musical Style

Pleyel used various forms of his name at different parts of his life depending in what location he was in. The native Austrian form of his name is Ignaz Pleyl, but evidence shows that he also went by the French Ignace Pleyel and Italian Ignazio Pleÿl.

This document will use the form he used for the majority of his life, Ignace Pleyel.

Ignace was born the son of Martin Pleyel in Ruppersthal, Austria on June 18,

1757. François Joseph Fétis published Ignace’s obituarary in La Revue Musicale in 1831.

It reports that Ignace’s mother, Anna Theresia, was born of nobility and was disinherited by her parents after her marriage to Martin that produced ten children.62 While it is disputed exactly when, Anna Theresia died sometime within two years of his birth. His father remarried, had fourteen additional children by his second wife and died at the age of ninety-nine. In addition to being a schoolteacher, his father was also an organist and provided Ignace with his earliest musical instruction. At the urges of his wife’s relatives,

Martin arranged for Ignace to study in Vienna with Johann Baptist Vanhal, a Czech-born

Classical composer and violinist known primarily for his symphonies.63

Vanhal had a nervous breakdown shortly after returning to Vienna from a 1769-

1771 trip to Italy. After his recovery, he was taken under the patronage of Count János

61 Hellyer, “Harmoniemusik,” In Grove Music Online. 62 Fétis, Biographie universelle des musiciens, 75-79. Translated by Julius Zsako. 63 Smaczny, “Johann Baptist Vanhal,” In Grove Music Online.

35 Erdódy, the son of György Erdódy and Terézia Esterházy.64 Young Ignace came to the attention of the Erdódy shortly thereafter. Count Lálsó Erdódy, János’s cousin, became particularly interested in the boy’s future, and in 1772 arranged for him to become

Haydn’s pupil and boarder at Eisenstadt and paid his annual pension of one hundred louis d’or.65

During the five years he studied with Haydn, Ignace became an excellent pianist and violinist as well as studying composition. While at Eisenstadt he also met many prominent statesmen, visiting musicians and one of his future employers, Prince Louis

René Édouard de Rohan, who at that time was the French Ambassador Extraordinary.66

The prince visited the court in June of 1772 and would later become the Cardinal of the

Diocese of Strasbourg in 1778 and in whose cathedral Pleyel would ultimately work.

Pleyel’s puppet opera, Die Fee Urgele, was first performed at Eszterhaza in

November 1776 as well as at the Vienna Nationaltheatre. Haydn’s puppet opera Die

Feuersbrunst was performed in 1776 or 1777 with an overture, or at least the first two movements, now attributed to Pleyel.67

In 1777, Count Lálsó Erdódy invited Pleyel to assume direction of musical activities in his court at Pressburg, which at the time was the cultural epicenter of

Hungary. The court was known for its Virtuosenorchester and owned a rich collection of music.68

64 Zsako, “The String Quartets of Ignace J. Pleyel,” 9. 65 Benton, “Ignaz Joseph Pleyel,” In Grove Music Online. 66 Zsako, “The String Quartets of Ignace J. Pleyel,” 14. 67 Benton, “Ignaz Joseph Pleyel,” In Grove Music Online. 68 Zsako, “The String Quartets of Ignace J. Pleyel,” 17.

36 Shortly after taking the position at Pressburg, Pleyel decided to travel to Italy. The

Count opposed his leaving but ultimately agreed to let him go and also supported him financially. Zsako suggests that Pleyel suffered from stylistic confusion resulting from his time with Haydn that coincided with a change in the master’s style.69 This confusion was resolved when he turned away from Haydn’s new experiments with motivic work and toward the more traditional Italian style of quartet writing – a three movement form with less emphasis on thematic development. While Pleyel’s style is essentially

Haydnesque, his innate feeling for easy flowing melody fused naturally with the Italian style.70

In Italy, Pleyel received commissions solicited by Norbert Hadrava, a music lover and part-time composer attached to the Austrian embassy in Naples. The first of these was a set of pieces for the hurdy-gurdy to be played by Ferdinand IV, King of Naples. In

1785, Pleyel’s opera Ifigeneia in Aulide, another commission secured by Hadrava, was performed on the king’s birthday at the San Carlo theatre on May 30, with eighteen more performances the following summer. The dedication of a set of quartets from 1790, during which time he was in Strasbourg, suggests that Pleyel maintained a relationship with the King long after he left Italy.

Earliest records place Pleyel in Strasbourg in 1785 when he became the assistant to Franz Xavier Richter, Kappelmeister at the Strasbourg Cathedral, at the request of

Cardinal Louis Constantin de Rohan. Under Richter’s leadership, the Münsterkapelle of

69 Zsako, “The String Quartets of Ignace J. Pleyel,” 17. 70 Ibid.

37 Strasbourg became second in importance only to the chapel at Vesailles and attracted some of Europe’s best musicians.71

The Cardinal recognized the importance of music in the display of wealth and encouraged large vocal and instrumental ensembles in masses and in other ecclesiastical ceremonies.72 While in Strasbourg, Pleyel was engaged in a variety of musical activities both within and outside of the cathedral. He collaborated with Johann Phillipp

Schönfeld, a composer, conductor and then concert director for the city, in the Schönfeld-

Pleyel Concerts and was the spirit of the Concerts des Amateurs a la Salle du Miroir.73

Pleyel married Gabrielle Lefebvre on January 22, 1789. There were four surviving children from their marriage, the eldest of which was Camille Pleyel, who would become a noted musician in his own right. The Strasbourg years were his most productive, with most of his compositions dating between 1785 and 1795.74

Pleyel was appointed Kapellmeister after Richter’s death in 1789. As

Kapellmeister he worked with the church choir and orchestra, played the organ, composed music for the church and participated in a great variety of city-sponsored events. The French Revolution in 1789 brought an end to much of the musical glory in

Strasbourg. The property and income of the Strasbourg Cathedral were confiscated on

November 2, 1789 and the public concert series was discontinued. Music at the cathedral

71 Zsako, “The String Quartets of Ignace J. Pleyel,” 25. 72 Ibid. 73 Ibid. 74 Ibid.

38 was limited to patriotic celebrations with untrained amateur musicians joining the ranks of the professionals.75

From December 1791 to May 1792, Pleyel accepted an invitation from impresario

Wilhelm Cramer to conduct the Professional Concert, London’s first self-managing orchestra.76 During the same time period, Haydn was working on a competing series, the

Salomon Concerts. Evidence in the form of newspaper articles and advertisements pit one against the other, citing Haydn’s advancing age and experience and Pleyel’s popularity and youth. It is unlikely that Pleyel was aware that he was hired to serve as competition to his friend and mentor prior to his arrival in London, though once there, he could not escape the hype. The two were unaffected by the rivalry and frequently dined together and performed each other’s works. The intent of the series was to have a new work from each composer premiered on each of the twelve performances.77 Considering the short time in which the Pleyel and Haydn had to work, it is likely that both brought works with them that had been previously written. In letters, Haydn wrote about his beliefs that Pleyel had brought previously composed works and his anxiety he felt from being pitted against his friend and former student:

“My labours have been augmented by the arrival of my pupil Pleyel, whom the Professional Concert have brought here. He arrived here with a lot of new compositions but they had been composed long ago; he therefore promised to present a new work every evening. As soon as I saw this, I realized at once that a lot of people were dead set against me, and so I announced publicly that I would likewise produce 12 different new pieces.”78

75 Zsako, “The String Quartets of Ignace J. Pleyel,” 47. 76 Searle, “Pleyel’s London Symphonies,” 231. 77 McVeigh, “The Professional Concert,” 103. 78 Landon, The Collected Correspondence and London Notebooks of Joseph Haydn, 132.

39 After returning to France, Pleyel bought a large home at St. Pierre, near

Strasbourg. Fétis reports that revolutionary authorities arrested him seven times, suspecting him of pro-Austrian or aristocratic sympathies, and he was released only after writing the patriotic hymn La revolution du 10 aout 1792, ou Le tocsin allegorique while under guard.79 During her research on Pleyel’s biography, Benton found no evidence of his arrest in the Strasbourg Revolutionary and police archives.80

Pleyel endured hard financial times at his St. Pierre chateau. Frustrated by the numerous publishers and copyists who robbed him of the fruits of his labor and mutilated his works, he decided to become his own publisher and manager and sent letters to friends to subscribe to his services.81

Earliest records put Pleyel in Paris in 1795 where he opened a music shop and founded a publishing house. In the thirty-nine years it was in operation, his business published about 4000 works including compositions by Boccherini, Beethoven, Clementi,

Cramer, and Haydn. Pleyel had agents for the sale of his publications all over Europe and actively communicated with other large music publishers including Artaria of

Vienna, Breitkopf of Leipzig, Hoffmeister of Vienna, Hummel of Amsterdam, and

Simrock of Bonn.

One of the significant achievements of Pleyel’s publishing house was the publication of the first miniature scores under the series Bibliotèque Musicale. This began in 1802 with a set of Haydn string quartets and chamber works by Beethoven and

Onslow. In 1830, the complete Haydn string quartets were issued in miniature score.

79 Fétis, “Notice sur Ignace Pleyel,” 348. Translated by Benton, Rita. 80 Benton, “Ignaz Pleyel, Disputant,” 21. 81 Benton, Pleyel as Music Publisher, x.

40 Ever the conscious businessman, Pleyel expanded operations in 1807 with the establishment of a piano factory.

In 1805, he traveled to Vienna with his son Camille where his quartets were warmly received. The main reason for his visit was the establishment of a branch office, which failed. His firm was plagued by legal problems that, while not large, sapped his physical and financial resources. In 1813, he attempted to sell the business, which included approximately 48,000 plates and many instruments.

By the 1820’s, Pleyel was spending a great deal of time on a large farm outside of

Paris and the publishing house, now run by Camille, was focusing more on popular music of the time – fewer symphonies and quartets and more romances and chansonnettes. The publishing firm ceased operations in 1834 and its assets were liquidated to various other publishers in Paris, including Lemoin, Prillip, Deloy, Pfeffer, Richault, and Schlesinger.82

Pleyel died in Paris on November 14, 1831.83

Summary of Oeuvre and Style

Pleyel’s musical output includes forty-one symphonies, eight solo concerti, six symphonie concertantes, twenty-three orchestral/chamber works, seventeen quintets, seventy string quartets, fifteen quartets for flute and strings, sixteen trios (winds and strings), forty-nine trios (sonatas with keyboard), fifteen duos (sonatas with keyboard), seventy short pieces for keyboard or harp, two operas and a keyboard method co-written with Dussek.84

82 Benton, Pleyel as Music Publisher, xx. 83 Ibid. 84 Benton, “A la Recherche de Pleyel Perdu,” 9.

41 A majority of Pleyel’s music was distributed in the form of engraved prints rather than manuscript. During his lifetime, Pleyel’s works were issued in some 2000 editions by approximately 250 publishers in over fifty cities in Europe and North America. In the years between 1787-1792, Pleyel was the most published composer. Benton’s catalog shows the total number of actual pieces to be 725 and the total number of publications to be 7,689, an average of eleven versions per piece.85

Distinguishing Pleyel’s original music from arrangements and adaptations is immediately difficult.86 Benton’s Thematic Catalog is a useful tool in ascertaining the authenticity and location of the multitudes of published editions and manuscript copies of

Pleyel’s work. As Fétis states: “no other composer has furnished the material for so many commercial frauds of all kinds.”87

Pleyel’s early publishers included Artaria in Vienna and André in Offenbach.

Growing up in Ruppersthal (near Vienna) and working in Strasbourg (near Offenbach), it is conceivable that he could have had personal ties with those operations. He likely had agents or friends initially market his music to other firms like Imbault in Paris.88 Because of his popularity and travels to some of the continent’s most significant cities, his music was published by Bland and Longman and Broderip (London), Schmitt (Amsterdam) and

Hummel (Berlin).89

In addition to his association with Haydn, the accessibility of his music is an additional reason for Pleyel’s rapid rise to fame. During this time, amateur music making

85 Benton, “Ignace Pleyel: A Thematic Catalog of his Compositions,” 4. 86 Hornick, “The Ensemble Works of Ignaz Pleyel,” 285. 87 Fétis, Biographie universelle des musiciens, 75-79. Translated by Rita Benton. 88 Hornick, “The Ensemble Works of Ignaz Pleyel,” 28 89 Benton, “A la Recherche de Pleyel Perdu,” 10.

42 was particularly in vogue. Households with enough means owned at least a keyboard instrument. These factors produced a demand for music playable by amateurs. While music of the masters such as Haydn and Mozart may have proven too difficult for amateur musicians, the music of composers like Pleyel, while perhaps not always as masterfully crafted as that of Haydn and Mozart, was still found to be of great quality and more playable, both important factors in his popularity.

Contemporaneous theorist J. J. de Momigny described Pleyel’s string quartets as having “an astonishing and merited vogue for being as agreeable as they were easy to perform.”90 Pleyel’s music was appealing for connoisseurs and music for amateurs.91

Hornick states that Pleyel learned melodic quirkiness, variation of motivic episodes, and the pervasive use of rhythmic generators from Haydn, all qualities that must have been a factor in his success.92

Stylistically, scholarship completed on select genres of Pleyel’s music shows many similarities with the music of Haydn. The use of a dominant theme that is closely related to the opening theme in first movements, the use of variation in rondo form, recapitulations that feature incomplete first themes, new developmental transitions and altered second themes, slow movements which combine features of two or more standard forms, and slow introductions which are motivicly related to the Allegro all link him to his teacher.93 Other similarities of compositional characteristics sometimes used by

Haydn include the preference for a tempo faster than Allegro in the first movement,

90 Framery, Ginguené, and de Momigny, “Quatour” in Encyclopedie méthodique, Musique, Vol. II, 30. Translated by Janet M. Levy. 91 Kim, “Ignaz Pleyel and His Early String Quartets,” 157. 92 Hornick, “The Ensemble Works of Ignaz Pleyel,” 280. 93 Smith, “The Periodical Symphonies of Ignaz Pleyel,” 140-141.

43 sometimes using the same tonic for each movement in a multi-movement work, heavily embellished themes in slow movements, using a minor section and a meter that contrasts with that of the first movement in the slow movement, using a dominant extension in the minuet and trio before the return of the opening section. Similarities to Mozart are fewer, but include the use of melodic chromaticism, frequent use of the diminished seventh chord and the non-modulatory transition.94

While the majority of Pleyel’s work has lain dormant in library archives for a majority of the past two hundred years, new scholarship, largely lead by Rita Benton, has renewed interest in his music. The string quartets, periodical symphonies and chamber music (including one recording of wind music) have had recent recordings and critical editions of Pleyel’s music are being created.

94 Smith, “The Periodical Symphonies of Ignaz Pleyel,” 141.

44

Chapter 3: An Analysis of the Parthia in Dis and a Comparison to Pleyel’s Compositional Style

As is the case with many of Pleyel’s works listed in The Wind Ensemble Catalog, the Parthia in Dis is a contemporaneous arrangement of a previously composed work - in this case, the Symphonie Concertante in Eb. The source materials of the other works in the Catalog that are arrangements of previously composed works are predominantly symphonies and string quartets. Of the twenty-seven works that are arrangements, the

Parthia in Dis is one of only four multi-movement pieces that are transcriptions of complete works. Of these four, it is also the largest with respect to movement structure.

An analysis of the Parthia in Dis reveals that the structure, form, thematic presentation and tonal organization all are identical to that of the original setting with only one exception: Movement II of the wind arrangements has six variations where the original symphonie concertante has five.

To provide the reader with a large-scale overview of the Parthia in Dis, Tables 7-

11 detail the form, sections, themes, and tonal areas of each movement.

45

Exposition (1-100) Development (101-156) Theme I CP* Theme II CP Codetta Theme III CP Theme III CP Eb: I V V V V V c: i i V

Recapitulation (157-243) Theme I Theme II CP Coda Eb: I I I I

* CP = concertante passagework

Table 7: Parthia in Dis, Movement I structure, themes, and tonal areas.

Theme (1-16) Variation I (17-32) Variation II (33-48) Variation III (49-64 a b a b a b a b Eb: I-I V-I I-I V-I I-I V-I I-I V-I

Variation IV (65-80 Variation V (81-96 Variation VI (96-112) a b a b a b I-I V-I I-I V-I I-I V-I

Table 8: Parthia in Dis, Movement II structure, themes, and tonal areas.

Minuet (1-28) Trio (29-52) A B A A B A Eb: I V I I-V; V-I V-V I-I

Table 9: Parthia in Dis, Movement III structure, themes, and tonal areas.

46

A (1-16) B (17-32) A b Eb: I-I V-I

Table 10: Parthia in Dis, Movement IV structure, themes, and tonal areas.

A (1-28) B (29-44) Codetta I (45-77) A B A a b Eb: I V I g: i V i

A (78-105) C (106-121) Codetta II (122-142) A B A a b Eb: I V I c: i i i

A (143-170) D (171-186) A B A a b Eb: I V I Bb: I V

A (187-214) Coda (214-306) A B A Eb: I V I Eb

Table 11: Parthia in Dis, Movement V structure, themes, and tonal areas.

The first movement bears the tempo mark Allegro and is set in sonata form.

Having no introductory motto figure or orchestral exposition, the piece begins with

Theme I in the tonic key of Eb. Theme I is an eight-measure melody scored for first clarinet in alternation with the horns. As is typical of Pleyel’s compositional style, the character of the first theme is technical. An elided cadence leads to the second statement of Theme I, this time stated by first horn with the oboes and clarinets in alternation. The

47 second statement is extended by four measures and concludes with a cadence on the dominant.

Figure 3.1: Theme I excerpt in clarinets and horns, m. 1-4. Parthia in Dis © Copyright 2012 Fountayne Editions. Reprinted by permission.

At this point in the piece, the form is expanded from that of traditional sonata form and a discussion of this practice in the symphonie concertante genre is warranted.

Though the first movement is in sonata form, it does not strictly follow its “textbook” structural procedures. As is usually the case in the first movements of Pleyel’s symphonie concertantes, additional melodic passagework not related to the thematic material is interspersed between the recurring themes. This material is presented in one or more of the solo instruments, is often virtuosic in nature and can be significantly longer than the primary themes. Though it is not thematic material, per se, in the context

48 of the form, it is treated as such. This is evidenced by its return during the recapitulations of the Parthia in Dis and Pleyel’s other symphonie concertantes. As stated in Brook, part of the attractiveness of this genre to mid-Classical audiences was the display of virtuosity and interaction between the solo voices.95 The non-thematic melodic material will be termed concertante passagework for the purpose of this study.

The first example of concertante passagework is presented in measures 19-36

(Fig. 3.2) and is set in the dominant key. A duet between first oboe and first bassoon in measures 19-24 is followed by a four-measure alternation between first clarinet and first oboe (Fig. 3.3). The bassoon-oboe duet returns from measures 28-31 and the first clarinet concludes this section with an eighth note triplet passage in the secondary dominant in measures 31-36 (Fig. 3.4).

Figure 3.2: Example of concertante passagework in oboe and bassoon duet, m. 19- 23. Parthia in Dis © Copyright 2012 Fountayne Editions. Reprinted by permission.

95 Brook, “The Symphonie Concertante,” pg. 13.

49

Figure 3.3: Example of concertante passagework in clarinet and oboe alternation, m. 24-27. Parthia in Dis © Copyright 2012 Fountayne Editions. Reprinted by permission.

Figure 3.4: Example of concertante passagework in first clarinet, m. 31-34. Parthia in Dis © Copyright 2012 Fountayne Editions. Reprinted by permission.

Theme II, set in the dominant, begins in measures 37 and like Theme I is presented twice and concludes with an elided cadence. True to Pleyel’s compositional style, this theme is more lyrical in character than the first theme and is stated first by a duet in the clarinets. In the second statement, the oboes, with the first oboe as the lead voice, join the clarinets.

50

Figure 3.5: Excerpt of Theme II in clarinets, m. 37-40. Parthia in Dis © Copyright 2012 Fountayne Editions. Reprinted by permission.

Following the conclusion of Theme II, the second section of concertante passagework begins. The first bassoon begins this section with a technical passage from measures 51-66 centered in the dominant (Fig. 3.6). The first oboe answers with much shorter passagework from measures 66-68. After a four-measure extension, the first clarinet presents another technical passage concluding in measure 84 (Fig. 3.7). A codetta in the dominant key (measures 84-101) brings the exposition to a close.

Figure 3.6: Example of concertante passagework in first bassoon, m. 51-54. Parthia in Dis © Copyright 2012 Fountayne Editions. Reprinted by permission.

51

Figure 3.7: Example of concertante passagework in first clarinet, m. 73-77. Parthia in Dis © Copyright 2012 Fountayne Editions. Reprinted by permission.

Rather than following the traditional practices of the development section, Pleyel begins the development with a new theme. This is congruent with Brook’s synopsis of development sections in symphonie concertantes.96 Theme III, beginning in measure

101, is an eight-measure symmetrical period between the first oboe and first bassoon.

Figure 3.8: Excerpt of Theme III in first oboe, m. 101-104. Parthia in Dis © Copyright 2012 Fountayne Editions. Reprinted by permission.

After its only statement in its tonic key of Bb major, Theme III is followed by one-measure ascending Bb major scales beginning with first oboe and passing to first clarinet, first bassoon, second bassoon and finally to the second clarinet. A chromatically modulating transition from measures 113-116 ends with a perfect authentic cadence in G major, setting up a the return of Theme III in measure 117. While the development does

96 Brook, “The Symphonie Concertante,” 12.

52 not alter Theme I or II, Theme III returns in measures 117-120 between first oboe and first clarinet in one-measure alternations, this time in c minor. Concertante passagework in the oboes, still in c minor, follows from measures 121-132.

Figure 3.9: Example of concertante passagework in oboes in the development, m. 121-125. Parthia in Dis © Copyright 2012 Fountayne Editions. Reprinted by permission.

The transitional material first presented in measures 68-73 in Bb major, returns in c minor in measures 133-138 with slightly altered rhythm in the first oboe. The transition leads to three measures of concertante passage work for the first oboe followed by a return of the triplet concertante passagework in first clarinet from measures 31-38, also in c minor. A retransition cycling through secondary dominant and secondary diminished seventh chords in measures 149-156 culminates with a cadence on the dominant of the movement’s tonic key and the recapitulation in measure 157.

The first and second statement of Theme I in the recapitulation are presented identically to the exposition. Like the exposition, an extension follows the second statement of Theme I, but now is extended from 4 measures to 7 and cadences on the

53 dominant of the movement’s tonic key. The concertante passagework in the exposition following Theme I is eliminated in the recapitulation and the music moves directly from the dominant cadence of the phrase extension to Theme II in the tonic key.

Like the exposition, Theme II is presented first as a clarinet duet with an elided phrase to the second presentation led by the first oboe. A phrase extension with duets in alternation between second clarinet and second bassoon and first clarinet and first bassoon leads to a cadence on the tonic in measure 198.

Figure 3.10: Alternation concertante passagework between second clarinet and second bassoon and first clarinet and first bassoon, m. 192-195. Parthia in Dis © Copyright 2012 Fountayne Editions. Reprinted by permission.

The first clarinet begins a section of concertante passagework, reminiscent of the material in measure 73, which spans from measures 198-225, and is followed by 2 measures of passagework in the first oboe. The same material used an extension in

54 measure 68-73 and 133-137 returns to set up passagework in the first bassoon in measures 213-215. The eighth note triplet passagework returns in the first clarinet with different pitch classes in measures 218-224 and leads to a cadence in the movement’s tonic key to set up the coda.

The coda and codetta are virtually identical with regard to musical material.

Where the codetta begins with the oboes, the coda begins with the clarinets and is two measures longer than the codetta.

The second movement, Andante con variazio, is in theme and variation form with each variation featuring a different instrument. All variations are in binary form, set in 8 measure parallel periods, and follow the I-I, V-I harmonic scheme. Variations present melodic and rhythmic variety as well as various levels of ornamentation through the use of appoggiaturas, grace notes and trills. The melody of the theme is cantabile in nature and is initially presented in the first clarinet with accompaniment from the horns and bassoons. Accompaniments in all variations have low rhythmic activity and are often sparsely scored.

Figure 3.11: First phrase of movement two’s theme in first clarinet, m. 1-8. Parthia in Dis © Copyright 2012 Fountayne Editions. Reprinted by permission.

55 Variation I of the theme is for first clarinet and is closely reminiscent of the theme. The notable differences are the inverted direction of the first beat and sixteenth note decorations. Ornamentation includes the scant use of appoggiaturas and trills. All other instruments are used for accompaniment.

Figure 3.12: Excerpt of Variation I melody in first clarinet, m. 17-24. Parthia in Dis © Copyright 2012 Fountayne Editions. Reprinted by permission.

Variation II sets the first bassoon in florid scalar and arpeggio passages using thirty-second and sixteenth notes. Clarinets, horns and second bassoon serve as accompaniment. Only four appoggiaturas and one trill are used due to the high rhythmic activity of the variation.

Figure 3.13: Excerpt of Variation II melody in first bassoon, m. 33-36. Parthia in Dis © Copyright 2012 Fountayne Editions. Reprinted by permission.

56 Variation III for first oboe is set almost exclusively in sixteenth note triplet arpeggio and leading tone figures with no ornamentation. The accompaniment includes all instruments except the second oboe.

Figure 3.14: Excerpt of Variation III melody in first oboe. Parthia in Dis © Copyright 2012 Fountayne Editions. Reprinted by permission.

Characterized by florid thirty-second note scalar and arpeggiated passages,

Variation IV’s melody is set for first clarinet. The accompaniment is sparsely scored for all instruments except the oboes. There is no ornamentation with the exception of one appoggiatura in the last measure, which is understandable considering the rhythmic activity of the variation.

Figure 3.15: Excerpt of Variation IV melody in first clarinet, m. 65-68. Parthia in Dis © Copyright 2012 Fountayne Editions. Reprinted by permission.

57 The second bassoon presents an ornamented and florid display of the theme set in thirty-second, sixteenth note and sixteenth note triplet figures in Variation V. Like

Variation III, the accompaniment is sparsely scored for all instruments except the oboes.

Figure 3.16: Excerpt of Variation V melody in second bassoon, m. 81-84. Parthia in Dis © Copyright 2012 Fountayne Editions. Reprinted by permission.

Variation VI is a decorated setting of the theme set an octave above its original statement at the beginning of the movement (Fig. 3.17). Of note in this variation are the trill and grace note ornamentation in the oboes (Fig. 3.18), the arpeggiated line in first bassoon and the ornamented melody in the first clarinet . All voices are used in this variation.

Figure 3.17: Excerpt of Variation VI melody in first clarinet, m 97-104. Parthia in Dis © Copyright 2012 Fountayne Editions. Reprinted by permission.

58

Figure 3.18: Excerpt of Variation VI oboe ornamentation, m 105-112. Parthia in Dis © Copyright 2012 Fountayne Editions. Reprinted by permission.

Both the minuet and trio sections of Movement III are set in rounded binary form.

In the minuet section, Theme I opens in an octave statement between clarinets and bassoons from measures 1-4 with the oboes and horns joining in measures 5-8. Theme II is in the dominant. The first phrase is presented in a duet between first oboe and first bassoon and the second phrase by the first clarinet and first bassoon. The next four measures comprises the rounded portion of the binary form and modulates from the subdominant to dominant, leading to a restatement of the first measures of Theme I.

Figure 3.19: First phrase of Minuet melody in first clarinet, m. 1-8. Parthia in Dis © Copyright 2012 Fountayne Editions. Reprinted by permission.

In contrast to the more rhythmically active theme of the minuet, the trio’s theme is slower and more lyrical. It is characterized by dotted half notes in descending thirds starting with clarinets and horns with the oboes in thirds joining in canon in the third

59 measure. The bassoons provide an eighth note accompaniment. Unlike the eight- measure phrases in the Minuet, the Trio’s thematic structure is based on six-measure phrases. After the trio, the traditional da capo completes the movement.

Figure 3.20: First phrase of the Trio in oboes, clarinets and horns, m. 29-34. Parthia in Dis © Copyright 2012 Fountayne Editions. Reprinted by permission.

Movement IV is titled Adagio and, like the theme of movement two, is set in binary form. Consisting 16 measures divided into two eight-measure periods and following the I-I, V-I key scheme, it begins with a four-measure clarinet duet with the

60 remainder of the ensemble joining in measures 5-8. The second section begins with oboes as the lead voice of the antecedent phrase in measures 9-10 and the clarinets and horns the lead voice of the consequent phrase in measures 11-12. The piece closes with a modified statement of the first phrase and cadences in the tonic key.

Figure 3.21: First section of Movement IV in first clarinet, m. 1-8. Parthia in Dis © Copyright 2012 Fountayne Editions. Reprinted by permission.

Movement V is a Rondo Allegro and is set in a seven-part ABACADA rondo form. The use of concertante passagework is scant in this movement, with the concertante character of the piece primarily brought to attention with the focus of the different sections of the form on different solo instruments. The movement can be generally characterized by repeated eighth notes and terraced dynamics, congruent with Pleyel’s compositional style in this movement type and form. Contrast is achieved in the alternating sections, two codettas and coda.

Like Movement II, III and IV, the initial A section’s melody is in rounded binary form. Soli clarinets introduce the sections first theme in measures 1-2 with the remaining forces joining in measures 3-4. This process repeats for measures 5-8 but cadences on the tonic key as opposed to the dominant for the first phrase. Terrace dynamics are used between the soli clarinets (piano) and tutti ensemble (forte) and the entire opening eight- measure phrase is repeated.

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Figure 3.22: First phrase of melody in the A section in first clarinet, m. 1-8. Parthia in Dis © Copyright 2012 Fountayne Editions. Reprinted by permission.

The second theme of the A section is also set in clarinets but is divided into four measure and six measure phrases. The half cadence in measure 18 is extended in a

Haydn-like humoristic way with the first clarinet adding two quarter notes at a piano dynamic on beat 1 of measures 19 and 20 before the second clarinet joins with a concluding statement of the sections first theme. The entire second section is also repeated.

Figure 3.23: Extension of phrase and return of first phrase in the A section in first clarinet, m. 19-20. Parthia in Dis © Copyright 2012 Fountayne Editions. Reprinted by permission.

The B section is in g minor and is set in binary form with two eight-measure parallel periods. The melody in the first eight measures is set in the first oboe. While it is rhythmically simple with dotted quarter, quarter and eighth notes, the difficulty lies in the ornamentation.

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Figure 3.24: First phrase of melody in B section in first oboe, m. 29-36. Parthia in Dis © Copyright 2012 Fountayne Editions. Reprinted by permission.

It is worthy to note at this point in the analysis that during the preparation for the premiere performance of the critical edition contained in this document, the three thirty- second note grace notes proved extremely difficult if not impossible to execute at the marked tempo. Referencing the original symphonie concertante setting of the work, the solo first violin line contained this material, making it idiomatically easier to play than on the oboe. Consultation with the oboist who performed the premiere revealed that the issues related to fingerings, frequency and speed of the ornaments. The in-staff D requires a half-hole fingering on the oboe. In order to execute the D, Eb, and F in succession, an oboist must alternate the use of the fifth fingers as well as shift the right hand up slightly. The oboist who performed the premiere eliminated the first of the thirty-second note grace notes when they occurred twice in a measure and elided the last eighth note of measure 32 with the first grace note of 33. The choices made in subsequent performances will largely depend on choice of tempo and the ability of the performer.

The first four measures of the B section’s second phrase is a doubled duet between clarinets and bassoons. The section closes with a restatement of the second phrase of the first theme.

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Figure 3.25: Excerpt of second section of B section showing doubled duet in clarinets and bassoons with oboe ornamentation, m. 37-40. Parthia in Dis © Copyright 2012 Fountayne Editions. Reprinted by permission.

A “textbook” rondo form would return to the A section following the conclusion of B. Instead, Pleyel inserts transitional material that will be called Codetta I for the

64 purposes of this study. Largely based in the repeating eighth note character and using terrace dynamics, this section, and the others like it, provide interesting harmonic digressions. It starts benignly in the dominant in measure 45 and cadences on tonic in measure 48. Measures 49-58 cycles through the circle of fifths. From measures 45-54, the material is presented in octaves through the entire ensemble, a technique that is congruent with Kim’s findings in the beginning of sections in the string quartets.97

Beginning in tonic of Eb major in measure 49, the material cycles through Ab in measure

50, F major in 51, Bb major in 52, G major in 53, C major in 54, F major in first inversion in 55, Bb major to Eb major in 56, Bb major to Eb major in 57 and finally cadencing on the dominant in measure 58. Alternation is used between the oboes and first clarinet and first bassoon in measures 59-77 with the frequency increasing from two measure alternations to one. The pseudo pedal point continues until the conclusion of the section in measure 77. After Codetta I, the A section returns almost identically to its initial presentation, the only exception being the absence of the internal repeats.

Like B, section C is set in binary form with two eight-measure parallel periods and presents a lyrical theme in c minor in a first oboe and first bassoon duet. The orchestration remains almost identical between the two periods, the only change being the addition of the horns on a G pedal through almost all of the second period.

97 Kim, “Ignaz Pleyel and His Early String Quartets,” 154-156.

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Figure 3.26: First phrase of melody in first oboe in the C section, m. 106-113. Parthia in Dis © Copyright 2012 Fountayne Editions. Reprinted by permission.

Codetta II serves as a transition between section C and the return of A and, like

Codetta I, contains interesting harmonic material. The section starts in the same fashion as Codetta I, though in this case more sparsely, with four measures of octave Cs in the clarinets and first bassoon. Beginning in measure 126, the tonality oscillates between c minor and f minor second inversion. Measure 130 begins the most intense sequence of harmonic activity of the section: measure 130 in c minor (i), 131 in Eb4/2 (V4/2/IV), 132 in

Ab (IV), 133 in fo (iio/i – a borrowed chord from eb minor) and 134 in Bb6/5 (V6/5).

Measure 135 to the end of Codetta II in measure 142 oscillates between the tonic and dominant, ultimately cadencing on the dominant in measure 142. After Codetta II, the A section returns almost identical to its initial presentation, the only exception being the absence of the internal repeats.

Section D, like sections B and C, is also set in binary form with two eight- measure parallel periods. The melodic material in the first period is presented in two instruments, the first bassoon with the first phrase and the first clarinet with the second phrase in an antecedent-consequent manner. The second period is a duet for the first oboe and first bassoon duet reminiscent of section C. Following its completion, the A

66 section returns almost identical to its initial presentation, the only exception being the absence of the internal repeats.

Figure 3.27: First phrase of Section D melody in first bassoon and first clarinet, m. 174-181. Parthia in Dis © Copyright 2012 Fountayne Editions. Reprinted by permission.

After the final statement of section A, a lengthy Coda concludes the piece.

Lasting 92 measures, it is by far the longest section of the piece. This is the only section of the work whose melodic material could be construed as concertante passagework. The oboes begin the passagework in a lyrical fashion in measure 215 with a four-measure antecedent phrase that is answered by a first clarinet and first bassoon duet. The whole eight-measure period is then repeated producing a double period. The first clarinet takes the lead with concertante passagework from measures 230-246.

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Figure 3.28: Excerpt of concertante passagework in first oboe, first clarinet and second bassoon in the Coda, m. 215-222. Parthia in Dis © Copyright 2012 Fountayne Editions. Reprinted by permission.

Measures 247-250 use one-measure alternation statements in the oboes and clarinets answered by horns and bassoons one measure later in a dominant-tonic relationship. Measures 251-256 are reminiscent of the material and manner of

68 presentation in measure 49-55: Eb major in measure 251, Ab major in 252, F major in

253, Bb major in 254, G major in 255 and C major in 256. Measures 257-260 provide the most interesting harmonic progression of the piece with 257 in Ao7/Eb6 (viio7/I6), 258 in Eb6 (I6), 259 in Bb7 (V7), and 269 in Eb (I). This material differs from the first time it is presented in measures 49-55 in that the diminished seventh chord delays the cadence on the tonic. Measures 261-279 contains alternating measures of dominant to tonic with the oboes and clarinets playing dotted quarter notes on each beat and the horns and bassoons on only beat two. Measures 280-287 are reminiscent of the octave beginnings of each of Codetta I and II, with harmony delayed until the arrival of the dominant in measures 288-291. The piece concludes in tonic with the characteristic repeated eighth notes. It is worthy to note that the third scale degree of tonic chord in the last four measures is lightly scored, only being present in the second horn.

Comparisons

Many characteristics of the Parthia in Dis coincide with those of contemporaneous symphonie concertantes and those of the Classical style in general.

With respect to the genre summarized by Kim and Brook, the Parthia in Dis is characteristic in terms of its movement structure, form, thematic presentation and development and overall key areas but exceptional with respect to its number of movements and overall length.

Brook’s synopsis of approximately 570 symphonie concertantes revealed that slightly less than half of them had only two movements and almost never had four or

69 five.98 In the three movement examples, the slowest movements are Andante and rarely

Adagio. Final movements are often in Rondo form, though sometimes minuet and trio or theme and variations forms are used.99 Reinforcing Brook’s findings, Davaux’s concertantes were all two-movement works.100

Pleyel’s symphonie concertantes B. 112, B. 113, B. 114 and B. 115 contain three, four, three, and two movements, respectively. A comparison of the movement structures of Pleyel’s symphonie concertantes can be seen in Table 12.

B. 111 B. 112 B. 113 B. 114. B. 115 B. 116 Mvt. I Allegro Maestoso/ Allegro Allegro Allegro Allegro Allegro brilliante Mvt. II Andante Rondeau Adagio Adagio/ Allegro Adagio con espressivo Andante/ moderato non tanto variazio Adagio Mvt. III Menuetto Allegro Andante Rondo Rondo assai grazioso allegro Mvt. IV Adagio Presto Mvt. V Rondo Allegro

Table 12: Comparison of the movement structure in Pleyel’s symphonie concertantes.

The Parthia in Dis possesses several general examples of Pleyel’s compositional style. Movements are in major or minor keys and contain chord progressions using the tonic, dominant, sub-dominant, dominant seventh, diminished seventh, secondary dominant and borrowed chords. Dynamics range from pianissimo to fortissimo with the

98 Brook, “The Symphonie Concertante,” 13. 99 Ibid. 100 Kim, “Jean-Baptiste Davaux and his Symphonies Concertantes,” 17.

70 rare use of mezzo forte. The expressive markings of rinforzando, sforzando, forzando and crescendo are also used with the decrescendo used less frequently.101 Melodies are smooth and diatonic – perhaps a trait acquired during Pleyel’s years in Italy.

The original symphonie concertante setting of the Parthia in Dis was scored for solo oboe, solo violin, solo viola and solo cello with orchestral accompaniment consisting of strings and two horns. The solo instruments in Pleyel’s other symphonie concertantes were violin and viola (B. 112), two violins, viola, cello, flute, oboe and bassoon (B. 113), two violins or piano and violin (B. 114), violin, flute, oboe, horn and/or bassoon or piano

(B. 115) and piano and violin (B. 116). The symphonie concertante, B. 116, is a three- movement work listed in the thematic catalog, but was unavailable for examination in this study.

Because they are more substantive and their organization is similar to other large musical genres of the period, the first movements have attracted a majority of the scholarship on the symphonie concertante. Movement one of the Parthia in Dis follows

Pleyel’s standard practice of using sonata form as the organizing construct. Three of

Pleyel’s five symphonie concertantes examined during this study use two themes in their first movement’s expositions: B. 111, 112 and 113. Of these three, B. 111 is the only one to start directly with the thematic material presented in the concertante instruments. B.

112 begins with a motto figure and B. 113 and 114 begin with an orchestral exposition.

Congruent with Pleyel’s compositional style, B. 114 uses three complete themes in the exposition. This work, premiered at the Professional Concerts, seems more like a solo concerto in character than the others.

101 Smith, “The Periodical Symphonies of Ignaz Pleyel,” 129-130

71 New themes are presented and used as source material in the developments of B.

111, 115 and 112 along with some concertante passagework. B. 113’s development begins with the motto figure that opens the movement and appears to use a modified form of Theme II, the motto figure, and some of the concertante passagework as developmental foddor. B. 114 uses mostly theme III as well as independent concertante passagework for developmental material. All developments employ modulation through several keys, though B. 111, being the earliest of the genre, modulates less than the others, mostly using Theme III in c minor and some of the earlier concertante passagework for source material.

The recapitulations in B. 111 and 113 present both of the exposition’s themes in tonic along with material from the concertante passagework. In B. 112 and 114, the concertante voices present the recapitulation first with the orchestral recapitulation following. All of B. 114’s themes are presented in the same sequence, though not all in tonic, and the concertante passagework is used the same way as the exposition. B. 114 also has a closing theme in the parallel minor. The recapitulation in B. 115 is signaled by the return of the introductory motto figure and the first theme of the exposition is not used.

The theme and variations movements in B. 111 and 113 are virtually identical in their structure and design. All variations use the same key, phrase structure, and form.

Contrast is achieved through the shifting of the solo voice, rhythmic variety and ornamentation in variations.

Slow movements exist in three of the five concertantes examined and vary in construction. Where B. 111 is in simple binary form and only 16 measures long, B. 113

72 and 114 use an ABA form. Where B. 113 is in rounded binary form, B. 114 could be construed as an example of the insertion of one movement into another. It opens with a

14 measure Adagio section followed by a 62 measure Andante and closes with a 7 measure Adagio section. The Andante section, in ritornello form, contains the movement’s thematic material and the Adagio sections serve only as an introduction and coda. Because of the disproportionate length of the outer Adagio sections and the inner

Andante section and the lack of musical independence the outer sections would possess if extracted from the whole, the author of the present study believes that this is not an example of an insertion of one movement into another, but rather that the outer sections serve as an introduction and coda to the Andante.

Two of Pleyel’s symphonie concertantes contain a minuet. The minuet in B. 111 follows procedures common in the Classical period minuet: two distinct sections, dance- like rhythms, rounded binary form and a contrasting key and style in the Trio.102 B.

115’s minuet and trio are another example of the movement within a movement procedure. Its formally and thematically atypical minuet and trio begins the work’s second movement, which moves attacca to the Presto assai that concludes the movement.

The final movements of Pleyel’s symphonie concertantes vary. B. 111 and 114 are in rondo form and are structured ABACADA and ABACA, respectively. Like B.

111, B. 114 also contains a coda and concertante passagework inserted between sections.

B. 113’s final movement is in through-composed form with concertante passagework inserted between thematic materials. B. 115’s final movement is a relatively short Presto assai that attaccas from the previous minuet and trio. B. 112’s Allegro assai uses two 16-

102 Little, “Minuet.” Grove Music Online.

73 measure statements of Theme I with remainder of the movement consisting of concertante passagework along with interjection of thematic material as commentary from the orchestra.

The Parthia in Dis also shares several compositional characteristics with Pleyel’s other works discussed in Chapter 1. Almost all of the first movements in Pleyel’s keyboard works, string quartets, flute quintets and symphonies are in sonata form. The expositions of these contain at least two themes. The first themes are more triadic, technical and in the tonic key and the second themes are more lyrical, in the dominant and use some melodic chromaticism. Bridge and passagework are important in the first movements of the quartets and functions to connect the two themes.

Developments in the other genres have little in common with the Parthia in Dis.

Where most of the works examined in other studies follow typical developmental procedures, the Parthia in Dis introduces a new theme. This is not a foreign practice to the symphonie concertante as a genre, but is the only one of Pleyel’s contributions to the genres examined in this study to utilize it.

Recapitulations in the keyboard works reduce the number of events and their melodic succession does not always follow the order of the exposition. The early symphonies, quartets, and symphonie concertantes show full recapitulations with few changes with the occasional exception of instrumentation. The Parthia in Dis has a complete recapitulation with a complete statement of the exposition’s thematic material.

Only some of the concertante passagework is omitted.

74 Second movements vary in tempo and form. Theme and variation form is used often. Unlike the homogeneity of this form in the Parthia in Dis, the quartets use great variety in key, meter, structure, and character between the variations.103

Works with third movements are limited to the symphonies, quartets and symphonie concertantes with the minuet and trio being the stock form used. In all three genres, forms of the minuet and trio components include binary and rounded binary. In later works the traditional Viennese model is expanded with more lengthy, developed and less dance-like themes.104

Across all of the genres examined, final movements use rondo form most often.

Unlike the Parthia in Dis, most typically use a five-part structure. The digressions are often in contrasting keys with low thematic contrast. Transitions (Codetta I & Codetta II in the Parthia in Dis) are either based on new motives or are from previous material and are integral to the form.105 All of the rondo movements close with a coda section.

103 Zsako, The String Quartets of Ignace J. Pleyel, 369. 104 Zsako, The String Quartets of Ignace J. Pleyel, 369 and Smith, “The Periodical Symphonies of Ignaz Pleyel,” 137. 105 Zsako, The String Quartets of Ignace J. Pleyel, 369.

75

CHAPTER 4: A Comparison of the Two Wind Arrangements and Issues Pertaining to the Preparation of a Critical Edition for Harmonie

Description of the Editorial Process to Produce the Critical Edition After the manuscript parts of Don Mus. Ms. 1597 were obtained, it was discovered that the piece was the first of seven in a collection suspected by the author to be a performance “gig” book. After settling on the Parthia in Dis as the focus of this document, all of the musical information was entered into Finale 2011. All musical materials (pitches, rhythms, articulation, dynamics, text) were entered part by part. The piece was entered in small sections by phrase, theme, and structural component, i.e. by exposition, variation, rondo section. The sectional approach to data entry was taken to ensure alignment of musical materials and discover any errata between voices through focusing on smaller sections.

Since the piece existed in manuscript part form only and the existence of a score even at the time of the arrangement’s creation is doubtful, there was no score structure or layout on which to base the critical edition. Since there are no contemporaneously published wind octets of Pleyel, the modern instrumental score order of Oboes, Clarinets,

Horns, and Bassoons was used. Titles of the lines in the score and the individual parts retain the original Italian names of the instruments present in Don Mus. Ms. 1597: Oboe

Primo, Oboe Secundo, Clarinetto Primo, Clarinetto Secundo, Corno Primo in Dis, Corno

76 Secundo in Dis, Fagotto Primo and Fagotto Secundo. Horn parts were left in the original key of Eb.

The existence of an additional wind arrangement, shelf mark Don Mus. Ms. 1571 was discovered after the Finale entry of Don Mus. Ms. 1597. Microfilm of this arrangement was obtained from the University of Iowa’s Benton Music Library, where

Pleyel scholar Rita Benton was the music librarian for several years. As is evident by the shelf marks, both arrangements are from the Donaueschingen collection.

The Finale score of the Don Mus. Ms. 1597 parts was compared to the newly obtained Don Mus. Ms. 1571 parts and all additions and changes were made in the score in red pen. Because the Don Mus. Ms. 1571 parts contain an overwhelmingly greater level of detail and consistency with respect to articulation and dynamic, those parts were used as the basis of the critical edition. Changes were made to Don Mus. Ms. 1597 score to reflect the additions and changes in Don Mus. Ms. 1571. Editorial changes were made based on discrepancies internal to Don Mus. Ms. 1571 in order to unify pitch, note length, rhythm, and articulation, dynamic and musical continuity.

Editorial changes or additions in dynamic are placed in brackets in the critical edition and changes or additions in ties and slurs are executed with dashed ties and slurs.

The edition included in this document is intended to serve two purposes: to provide a critical edition of the Parthia in Dis based on primary source material with a detailed critical report, that also serves as a performance edition. To that end, the editorial procedure of bracketing changes was eliminated for discrepancies in articulations and rhythm for purpose of clarity. Full details of all editorial changes can be referenced in

Appendix B.

77 Changes, additions or omissions were made based on a review of Don Mus. Ms.

1597 and the second edition Imbault parts of the original symphonie concertante published in 1792. Consideration was given to congruence with other voices with similar melodic or rhythmic material and congruence with other presentations of the same material, i.e. the exposition and recapitulation, binary forms of Movement II and IV, and the A sections of Movement V’s rondo form.

For the purpose of clarity, several issues were corrected but not documented.

These include the beaming of eighth notes to modern groupings based on the meter, the elimination of the repeat measure symbol, the addition of courtesy numbers when measures are repeated multiple times and the elimination of articulation dots above dotted quarter and dotted half notes with slashes (Movement V only).

Chronology and Authorship of the Two Sets of Wind Parts

While neither set of manuscript wind parts contains a written date of production, it is still possible to determine when they were created. According to their corresponding entry in RISM, watermarks on the paper provide a close approximation to the time of their creation. The New Grove Dictionary of Music and Musicians defines a watermark as “the traces left in paper by the use of designs in the moulds or belts (‘wires’) used for its manufacture. These usually show as a thinning of the paper's texture when a sheet is held up to the light. Marks have a history of over 700 years in the West, and continue to be used to the present day (especially in currency). Since marks were used as identifiers

78 of the paper, and since they vary considerably over time and place, they are of great value to the scholar attempting to date or localize manuscripts.”106

Don Mus. Ms. 1571’s watermark indicates that its paper was produced circa 1790.

The Parthia in Dis is the only work contained under its shelf mark in the Badische

Landesbibliothek and was originally housed at the Fürstlich Fürstenbergisches Archiv in

Donaueschingen under the same listing.

Figure 4.1: Example of title page in Don Mus. Ms. 1571

Existing in two arrangements, the Parthia in Dis is also the first in a collection of seven partitas with the shelf mark Don Mus. Ms. 1597, and is simply listed within this collection as “N1.” The works in this collection are listed as numbers 1-7 with the last name of the composer near the beginning of the first movement. Works two-four are by composers Rosetti, Maschek and Winter and works five-seven are by Mysliveček.

106 Boorman, “Watermark,” In New Grove Online.

79 Rather than being organized by composer or work, it is organized by instrument. The first oboe parts for the works by the composers on the title page are presented in that order: Pleyel, Rosetti, Maschek, Winter, and the three Mysliveček partitas. This lends support to the belief that this collection originated as a performance ‘gig’ book for a resident Harmonie. The watermark dates the creation of this collection to circa 1800.

Figure 4.2: Example of title page of the collection Don Mus. Ms. 1597 showing shelf mark and representative composers.

80

Figure 4.3: Example of the first page of the first oboe part in Don Mus. Ms. 1597 showing the collections numbering system.

Comparison of Don Mus. Ms. 1571 and 1597

A comparison of the two wind arrangements revealed that Don Mus. Ms. 1571 contained a greater level of detail and internal consistency than Don Mus. Ms. 1597.

This is evident in a brief look at the first several measures of the first clarinet part in

Movement I.

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Figure 4.4: Example of first clarinet part in Movement I, m. 1-100 of Don Mus. Ms. 1597

82

Figure 4.5: Example of first clarinet part in Movement I, m. 1-100 of Don Mus. Ms. 1571

Material changed or missing can be categorized into pitch, rhythm, articulation and dynamics. Form, thematic presentation, orchestration and texture are treated almost identically between the arrangements, lending support that Don Mus. Ms. 1597 is based on Don Mus. Ms. 1571. The differences in articulation with respect to slur placement and missing staccatos, missing dynamics and note lengths of appoggiaturas are too numerous for discussion. A detailed list of the differences between the two editions is included in Appendix C. Aside from articulations, dynamics and appoggiaturas, there are several noteworthy differences with respect to rhythm, texture, pitch and crescendo/decrescendo wedges. Perspective for the following discussion will first

83 describe what exists in Don Mus. Ms. 1597 and the corresponding difference(s) in Don

Mus. Ms. 1571.

Other than lengths of appoggiaturas there are few major rhythmic differences in

Movement I. One example occurs in measures 2-3, where the first horn uses sixteenth notes on beat four rather than two eighth notes. A similar issue occurs in measures 12 and 14. Ties are missing in measure 101 and in 117-120 in the first oboe. The first clarinet and the first bassoon have quarter notes instead of a whole note in measures 141-

142. In measure 173, the first oboe has an eighth-two sixteenth-note grouping instead of eighth notes on all beats (Fig. 4.6), and the eighth notes on beat four in measure 233 of the first clarinet should be an eighth-two sixteenth note grouping.

Don Mus. Ms. 1597 Don Mus. Ms. 1571

Figure 4.6: Example of rhythmic differences between Don Mus. Ms. 1597 and 1571 the first oboe, Movement I, m. 173-174.

Significant melodic and pitch differences include two instances of octave displacement. Material in second clarinet in measure 18 on beat 1+ through beat 3 is written up one octave from its presentation in Don Mus. Ms. 1571. The sixteenth note arpeggios in the second clarinet in measures 196-197 are up one octave from their presentation in Don Mus. Ms.1571. The most significant melodic change in Movement I

84 is the absence of material in the second oboe and second bassoon in measures 192 and

194 in Don Mus. Ms. 1597 (Fig. 4.7). In Don Mus. Ms. 1597, this material was set for the second horn as sixteenth note arpeggios. The difficulty of this excerpt and Variation

IV in Movement II provides evidence to support the author’s belief that Don Mus. Ms.

1597 was created of for an ensemble with strong horn players.

Figure 4.7: Example of the arpeggios in second horn in Movement I, m. 192 & 194 of Don Mus. Ms. 1597.

Aside from missing or misaligned dynamics, an interesting difference between the two wind arrangements is the absence of crescendo and decrescendo wedges in Don Mus.

Ms. 1597. The marking ‘cresc’ is used one time in Don Mus. Ms. 1597 in measure 16 of

Movement I while wedges are used three times in measures 16, 167 and 172 in Don Mus.

Ms. 1571. These crescendo wedges have a distinct shape characterized by a closed end

(Fig. 4.8).

Figure 4.8: Example of crescendo dynamic wedge in second horn in Movement I, m. 15-17 of Don Mus. Ms. 1571

85 Although the second movements of the wind arrangements do not have many small differences, they do contain the most large-scale changes. Where Don Mus. Ms.

1597 does not have accompanimental material for the horns in the Theme or Variations

II, III and V, Don Mus. Ms. 1571 does. Accompanimental material is also missing in the clarinets in Variation III of Don Mus. Ms. 1597.

Significant changes between the wind arrangements include changing of melodic voice in Variation III and re-ordering the variations. What exists as Variation IV in Don

Mus. Ms. 1597 with melody scored in the first horn is Variation V in Don Mus. Ms. 1571 with melody scored in second bassoon one octave below. Accompanimental material is also reversed between these variations. In Don Mus. Ms. 1597, Variation III is scored for first clarinet. This is changed to first oboe in Don Mus. Ms. 1571.

Figure 4.9: Excerpt of first clarinet melody Movement II, Variation III, m. 33-48 of Don Mus. Ms. 1597.

86

Figure 4.10: Excerpt of first oboe melody Movement II, Variation III, m. 33-48 of Don Mus. Ms. 1597.

The presentation of Variation IV in the first horn of Don Mus. Ms. 1597 is in the extreme high register of the instrument. It is important to consider that at this point in the history of the instrument, the horn did not yet have valves, so the execution of this part would have been done by lip slur and pitch manipulation by the hand in the bell.

Figure 4.11: Excerpt of first horn melody Movement II, Variation IV, m. 65- 76 of Don Mus. Ms. 1597.

87

Figure 4.12: Second bassoon melody Movement II, Variation V, m. 81-96 of Don Mus. Ms. 1571.

Movement II also has changes of pitch material in the second bassoon and a regrouping of the rhythm in first clarinet. In measure 7, the last five notes of the first oboe are up the octave from Don Mus. Ms. 1597’s setting in first clarinet. There are also changes to the bassoon’s pitch and rhythm content in measures 81-96 as well as missing grace notes in the oboes in Variation IV from the Don Mus. Ms. 1597 arrangement.

Movement III is consistent between the arrangements with two exceptions. In

Don Mus. Ms.1597, the horns double the clarinets and bassoons in measures 1-4 and 21-

24 and in Don Mus. Ms.1571 they rest. A crescendo dynamic wedge in the same style as the first movement is missing in all voices in measures 49-50 in Don Mus. Ms. 1597.

Movement IV is also consistent between the arrangements. The only differences are the change of one sixteenth note sextuplet to two sixteenth note triplets in the first clarinet and the missing doubling of the clarinet duet in the oboes, both in measure 7.

Movement V’s major rhythmic changes pertain to the changing of dotted quarter or dotted half notes with slashes to written out eighth notes. The number of these issues is too great for discussion, however a detailed inventory can be found in Appendix C.

88 Three pitch discrepancies exist in Movement V. In measure 84 and 149, the first horn dotted quarter notes on the D in the staff should be C and G in the staff, respectively. The first clarinet in measure 149 has a C in the staff, which should be a neighboring B natural.

Movement V has two melodic changes. The melody in measures 179-186, including the eighth note anacrusis, is in first clarinet in Don Mus. Ms. 1597 and in the first oboe in Don Mus. Ms. 1571. The conclusion of this eight-measure melody in Don

Mus. Ms. 1597 in the first clarinet is a four eighth note C major arpeggio from middle space C to C below the staff. While this is well within the comfortable range of the clarinet, it is concludes on the lowest note possible on the oboe. This low Bb on the oboe can prove difficult to execute, especially with finesse at the end of a phrase. The arranger of Don Mus. Ms. 1571 solved this problem by dovetailing the last three notes of the descending arpeggio in the second clarinet.

89 Review of Significant Internal Errors in Don Mus. Ms. 1571

In general, the parts contained in Don Mus. Ms. 1571 are in excellent condition and easily readable. The copyist who prepared them was consistent in detail with respect to articulation, dynamic and rhythmic notation between voices, especially in comparison to Don Mus. Ms. 1597. Considering this high level of consistency it is possible that the copyist was working from a score of the original symphonie concertante, rather than parts. Internal editorial issues confronted can be divided into those based on physical appearance and those that are internal disagreements of musical material.

Ink smudges, discontinuity of line and weak image transfer in the digitization process were issues in five circumstances. In Movement I, the smudge in the first oboe before the grace note in measure 24 was ignored (Fig. 4.13). In the same movement and part, the dynamics in the first oboe in measures 137-138 are unclear (Fig. 4.14). In this case, the dynamics in the critical edition default to the dynamics used in the other voices.

Figure 4.13: Example of smudge in first oboe, Movement I, m. 24.

90

Figure 4.14: Example of unclear dynamics in first oboe, Movement I, m. 137-138.

There are two issues in the first clarinet in Movement III. In measures 1-2, the articulations are difficult to discern (Fig. 4.15). The critical edition defaulted to the articulations used in the other voices. In measure 43, a smudge that is likely a piano dynamic is treated as such to match the other voices (Fig. 4.16).

Figure 4.15: Example of first clarinet articulation issues in Movement III, m. 1-2.

91

Figure 4.16: Example of smudge in first clarinet in Movement III, m. 43.

Two instances of misaligned dynamics exist in the manuscript parts. The piano dynamic in the first clarinet in measure 178 of Movement I is in the staff above the part rather than the traditional placement of dynamics below the staff (Fig. 4.17). The piano dynamic in the first bassoon in measure 225 of Movement I should be on beat three instead of beat one. This aligns the dynamic with those of the other voices as well as allows the cadence of the previous phrase to finish at its pre-established forte dynamic.

Figure 4.17: Example of misaligned dynamic in first clarinet, Movement I, m. 178.

There are five circumstances involving clarity in slur coverage. In Movement III, the second bassoon has a slur over all of measure 3. In the other voices with similar material, the clarinets and first bassoon, slurs do not exist. In measure 45 of the same

92 movement in the second oboe, the slur covers the quarter notes on beat two and three where the other parts with similar material slur the entire measure.

General Issues

General internal disagreements can be distilled into pitch, rhythm, articulation and dynamic issues. Examples of these disagreements are organized by movement and presented in the following paragraphs. Please see Appendix B for a detailed record of the editorial decisions made in the production of the critical edition.

There are four examples of rhythmic issues in Movement I. The appoggiaturas that are written sixteenth notes in the first clarinet in measure 9-10 should be thirty- second notes to match the other melodic voices. In measure 148, the horns have a half note from beats one to two, which disagrees with the quarter notes in the other voices. In this case, the half note was changed to a quarter note to provide for a unified release on the cadence. In measure 229, the eighth note on beat one in the clarinets was changed to a quarter note to match similar musical occurrences. The quarter note in first bassoon on beat one in measure 231 should be an eighth note followed by an eighth rest to match the other voices.

Missing dynamics are more common than rhythmic errors in Movement I.

Sforzando markings are missing in the clarinets in measures 12 and 14, second bassoon in measure 71 and second oboe and first bassoon in measures 161 and 163. Other missing dynamics include a forte marking in first oboe in measure 66, piano in first clarinet in 109, piano in second oboe in 148, piano in second clarinet in 150 and piano in second oboe, first clarinet and first bassoon in 171.

93 The slur and staccato are the only two articulation markings used in Movement I.

Slurs that are missing or not congruent with similar instances of returning material include first oboe in measures 20 and 22, first oboe and first clarinet in 45-46, first oboe in 89, first oboe in 101 (slur and tie), first bassoon in 145, clarinets in 180 and 182, oboes and clarinets in 187 and second clarinet and bassoons in 192. Discontinuity with staccatos exist in first clarinet in measure 68, oboes in 85, horns and bassoons in 88-91, oboes, second clarinet and second bassoon in 91, second oboe in 92, first oboe in 91-99, first oboe in 168 & 170, first oboe in 171-172, second bassoon in 229-233 and oboes and clarinets in 232.

Movement II, being a much shorter and less-involved movement, does not contain as many internal errors as Movement I. Rhythmic errors include a dotted eighth note that should be an eighth note in the first oboe in measure 60 for rhythmic fit into the measure and a missing measure in the second horn, what should be measure 96. The missing measure was added as a rest to agree with first horn. Dynamically, only the first clarinet is missing a piano dynamic in measure 33. Three instances of missing slurs occur in the second clarinet in measure 11, first clarinet in 16, first bassoon in 39 and first oboe in 60.

The only issues in the Minuet of Movement III are with articulation. The first oboe in measure 33 is missing a slur and in measure 39, the second oboe, first clarinet and first horn, the written slur is omitted to match the other voices. A similar instance happens in the second oboe, second clarinet and first horn in measure 51.

One rhythmic disagreement exists in the Trio of Movement III. Both horn parts have a half note while the second oboe, clarinets and bassoons have a quarter note with the first oboe playing through the measure. Following the printed rhythm will result in a

94 misaligned release. Both Don Mus. Ms. 1571 and 1597 contain the same rhythmic disagreement, as do the second edition Imbault parts of the original symphonie concertante. Because of the consistency of this issue between three separate sets of parts, the rhythm is retained as written.

Also being a shorter movement, Movement IV has only four issues. Piano dynamics are missing in measure 9 of the second clarinet and in measure 10 of the first horn. Articulation disagreements in the form of slurs that are not congruent with the other voices in measure 7 of the second oboe and second clarinet and misaligned slurs in second clarinet, first oboe and bassoons in measure 11.

There are no pitch issues in Movement V. The only related issue is the absence of key signatures when the music modulates to and from contrasting sections. This happens in B section at measures 29 and 45 and the D section at measures 171 and 187.

The main rhythmic discrepancies in Movement V are the changing of quarter notes at the ends of phrases to eighth notes to match the other voices. This can be observed in the second oboe and horns in measure 4 and second oboe, horns and first bassoon in measure 24. There numerous other examples of this, most of which occur during the statements of the A section of the rondo form. Other rhythmic changes include the realization of slash notation on dotted quarter and dotted half notes. Three forte dynamics are missing in second clarinet in measure 75, first oboe in 165 and second horn in 257.

Articulation discrepancies are classified by the misplacement of slur and/or staccato or missing articulations altogether. Examples of this can be seen in the slur and staccato organization in the first oboe in measure 4, the slur placement in the first oboe in

95 106-107, a missing slur in the first bassoon in measure 108 and a disagreement in the slur in first bassoon in 112 with the first oboe. Several other articulation discrepancies exist but are too numerous for detailed discussion. See Appendix B for a detailed explanation of all editorial decisions.

Selected Editorial Modifications, Their Sources and Justifications

Where the preceding discussion provided examples of editorially cosmetic issues, the research process revealed more significant issues. These issues were not as numerous as the cosmetic details and pertained mostly to the structure and thematic presentation of the Parthia in Dis.

In measures 2-3 of Don Mus. Ms. 1571’s Movement I, the bassoons double the melodic material from the horns. This is problematic because the range of the original parts requires the material be displaced an octave lower for the parts to be within the range of the bassoon. In the Imbault second edition parts, the original presentation of the material is in the violas and is a match with respect to range of the horns in Don Mus.

Ms. 1571 and 1597. However, Don Mus. Ms. 1597 does not double the horns with the bassoons. If indeed Don Mus. Ms. 1597 were copied from Don Mus. Ms. 1571, it is possible the arranger who did so recognized this awkwardness and chose to eliminate it from his or her arrangement.

Measures 2-3 of Movement I also contains a small issue with the writing of the horn part. Where the Imbault second edition used sixteenth notes in both measures and

Don Mus. Ms. 1597 uses sixteenth notes on beat four in only measure 2, Don Mus. Ms.

1571 simplifies the rhythm to two eighth notes. If the arrangements were done for

96 specific ensembles, perhaps the second arranger was writing for an ensemble with strong horn players. This melodic material in the original symphonie concertante was set in the cello. With reference to the Imbault second edition and Don Mus. Ms. 1597, the material from the first horn in measure 2 is duplicated in measure 3. When this material returns in the recapitulation, it is treated in the same manner. The critical edition included in

Appendix A follows the presentation in the second edition Imbault parts.

Measures 76-77 in Movement I contains an awkward alternation statement between the first oboe and first clarinet. In Don Mus. Ms. 1571, the first clarinet begins a section of concertante passagework in measure 73. This passagework is interrupted by the shifting of the melody to the first oboe in measure 76-77 and then returns to the first clarinet in measure 78. Don Mus. Ms. 1597 and the Imbault second edition keep the melodic line in the same instrument. Because of the instrumental shift in these two measures in Don Mus. Ms. 1571, the first clarinet doubles the second clarinet in measure

76-77 when not playing the melody. In the critical edition of Don Mus. Ms. 1571, the entire passage was kept in first clarinet for purposes of musical continuity and agreement with Don Mus. Ms. 1597 and the Imbault second edition.

Courtesy numbers were added to the second bassoon part in measures 19-23 in

Movement I due to the large number of repeated measures. This was also done in measures 121-126 of the same movement in the second clarinet and second bassoon parts. Courtesy numbers were added to the second clarinet part from measures 293-299 and in the second bassoon part from measures 292-299 in Movement V.

Fermatas were added on the rests on beat two in measures 28, 105 and 170 of

Movement V. This is in accordance with the Imbault second edition.

97 Comparison of the Critical Editions

The purpose of this section is to summarize the arranger(s)’s of Don Mus. Ms.

1597 and 1571 solutions to the idiomatic issues of tessitura, texture and articulation.

Data included in Appendix D’s tables were collected first and will serve as the basis of the following discussion.

Given that the orchestration of the original symphonie concertante contained parts for solo violin, viola and cello, many of its lead melodic voices were strings. The instrumentation of the Harmonie is uniquely suited to fit a work such as the Symphonie

Concertante in Eb because of the similarity in both the number and ranges of instruments. Many of the melodic lines in the string instruments are transferred to wind instruments at the same pitch level.

98

Symphonie Concertante Source Harmonie Destination

Violin I Oboe I

Violin I Clarinet I

Violins Clarinets

Viola I Clarinet I

Viola I Horn I

Viola I Bassoon I

Violas Clarinets

Violas Horns

Cello Clarinet I

Cello Horn I

Cello Bassoon I

Cello Bassoon II

Table 13: Common identical transfers of string to wind parts.

While many of the melodic transfers happen at the same pitch level, there are several exceptions where octave displacements occur, the majority of which are in

Movement I. The cello line of the viola and cello duet in measures 37-44 is up one octave in the first clarinet. The concertante passagework in the first viola in measures 51-

66 is down two octaves in the first bassoon. The same relationship occurs with material from Theme III in measures 105-108 and the transitional material in 113-116. Theme III in the cello in measures 117-120 is up one octave and placed in the first oboe. The first viola and cello’s concertante passagework duet is also an octave above in the oboes. The

99 first viola’s concertante passagework in measures 198-206 is set an octave above in the first clarinet and the first violin’s transitional material in 208-213 has the same relationship with first oboe. The first violin’s concertante passagework in measures 213-

218 is set two octaves below in the first bassoon and conversely, the first violin’s concertante passagework in 218-225 is set an octave above in the first clarinet.

Movement II has only one case of octave displacement in Variation V. The melody that was originally in cello is set one octave below in second bassoon.

Movement III and IV are scored at identical pitch levels to the original symphonie concertante.

Octave displacement in Movement V occurs in the first eight measures of the D section, measures 171-178, with the cellos part of the duet written down one octave in the first bassoon. The first viola’s melody in the last statement of the A section in measures

187-192 is set an octave above in the first clarinet.

Texture between the two critical editions is mostly identical. Exceptions include instances of melodic doubling and missing parts. Melodic doubling occurs in Movement

I in measures 44-52 and 185-192 with the second statement of Theme II doubled by the oboes. In Movement IV, the oboes double the clarinet duet in measure 9-12. The

Parthia in Dis’s horn parts are missing in Movement II’s Theme, Variations III and IV and the oboes missing in Variation V. Horns parts are missing in measures 1-4 and 21-24 of Movement III.

Tonal organization is identical between the critical editions with the exception of one notable difference. This occurs in Movement V and may simply be the product of a wrong note in the Imbault parts. In measure 257 of the Imbault parts, the first oboe plays

100 an F natural compared to an F sharp in the critical edition of Don Mus. Ms. 1571. The change of pitch produces a change of chord quality from an F dominant seventh in first inversion to an A diminished seventh in root position. In the context of the progression, the diminished chord makes more sense, as it is the diminished seventh of the tonic first inversion. In contrast, the F dominant seventh is a secondary dominant to the tonic.

Following the harmonic conventions of the time would require this chord to first resolve to the dominant of Bb major. In the critical edition of the Parthia in Dis, the F sharp is retained in the first oboe part because of its existence in both Don Mus. Ms. 1571 and

1597 as well as its functionality with respect to the harmonic context.

Comparison of the Common Instruments Between Settings

Three instruments are shared between the original symphonie concertante setting and the critical edition of the Parthia in Dis. In the original, the oboe is one of the solo concertante instruments and the two horns are members of the orchestra. The oboe parts in Don Mus. Ms. 1571 have a more significant melodic role and the horns less so. In

Don Mus. Ms. 1597, the horns have a greater amount of melodic material, especially in movements I and II. The technical difficulty and extreme range of this material suggests that this arrangement was completed for a specific ensemble that contained at least one strong first horn player but weak oboe players. The comparison of these parts between the two critical editions revealed interesting tendencies in the wind arrangement regarding the treatment of the horns and especially the oboe.

101 Aside from accepting a melodic role from the violas or cello as in the beginning of the exposition and recapitulation in Movement I, the horn parts are true to the original with few exceptions.

There are also instances of differences between the parts that could be considered errata in Imbault parts. Two whole notes on the in staff C are missing in the horna in first movement of the Imbault parts but are present in the wind arrangement.

There are three examples of what the author believes are wrong notes in the

Imbault parts. In measure 237 of Movement I, the in staff D in the Imbault first horn part should be an E and in measure 257 of Movement V, the in staff D should be a C. In both of these situations the harmonies of the time and the traditional role of the horn in orchestral music lend support to these being wrong notes. The third instance of a wrong note is in measure 276 of Movement V. In this case the pitch is correct, but the only quarter note in the measure should be on beat one and not beat two. All of the above issues are correct in the wind arrangements.

The other changes in horn parts between the two critical editions exist in the creation or omission of material. Variation II, III and V of Movement II do not contain horn parts in the symphonie concertante setting. In Don Mus. Ms. 1597, horn parts are also absent from these variations, but exist in Don Mus. Ms. 1571. Material in these added parts is newly composed and unrelated to the original symphonie concertante setting.

A comparison of the oboe parts between the critical editions revealed interesting tendencies. Table 14 lists which instruments of the original symphonie concertante that provides the musical material for the oboe parts in the critical edition of the Parthia in

102 Dis. The table also shows when an oboe part from the original symphonie concertante is given to other instruments in the critical edition of the Parthia in Dis.

Original Original Original Original Original Original SC Material Material Material Material Material Oboe Material SC Oboe Violin I Violin II Viola I Cello In I: 19-31 I: 1-5 I: 78-79 I: 33 I: 117-119 I: 88-100 - Cl I 8va I: 101-104 I: 5-10 I: 225-228 I: 88-100 I: 121-132 I: 109-111 - Ob II (Ob II) (Ob II) I: 141-148 I: 43-51 II: Var. II I: 121-132 I: 164-170 I: 112-116 - Cl I 8va I: 157 I: 68-73 I: 218-223 I: 118-120 - Cl I 8va I: 196-198 I: 88-100 I: 133-137 - Cl I III: 9-20 I: 112- I: 150-156 - Cl II 116 V: 106-129 I: 134- I: 184-192 - Ob II 140 V: 130-133 I: 149- I: 196-199 - Ob II w/slashes 156 V: 215-238 I: 171- I: 206-212 - Cl I 173 V: 244-245 I: 184- I: 225-228 - Cl I 192 V: 280-288 I: 206- I: 229-243 - Hn I 212 V: 293 I: 229- II: Var. II - Cl I 243 V: 295 II: Var. II: Var. VI - Cl II III V: 257-299 II: Var. V: 37-40 - Cl I w/ slashes VI III: 4-8 III: 25-28 IV: 9-10 V: 3-4 V: 7-8 V: 28-29 V: 29-36 V: 37-40 V: 41-44 V: 45-47 continued

103 Table 14: Continued

V: 49, 51 V: 53-57 V: 59-61 V: 65, 69, 71 V: 73-77 V: 179- 186 V: 247, 249, 251, 253 V: 255- 257 V: 289- 291

Table 14: Source material of wind arrangement oboe material and destination of original material.

The original symphonic concertante oboe part is used in the first oboe part of the

Parthia in Dis in 168 measures, mostly in Movements I and V. Material original to the symphonie concertante is given to other instruments, primarily the clarinets and second oboe, in 111 measures of the wind arrangement. The largest transfer of material and the primary role in transcription the first oboe holds is the realization of the first violin. This practice happens in all movements, though it occurs most often in Movements I and V, to a total of 198 measures.

In the Parthia in Dis, the oboe is assigned the role of the first violin more than it covers its own original symphonie concertante parts. While the clarinet is similar in range to the oboe, it is possible that arranger(s) had a preconceived idea of the timbral hierarchy for the Harmonie for which he or she was working and switched parts between the two instruments in order to achieve the proper relationship and balance. As has been

104 previously stated, it is also possible that the wind arrangements were completed for two separate Harmonien and the choices made in the transfer were done for specific strengths and weaknesses of the ensembles.

105

CHAPTER 5: Summary, Conclusions and Recommendations for Further Research

Summary

Though he slipped from the mainstream of music history long ago, the fact remains that Ignace Pleyel was a significant figure in the musical life of the late 17th to early 18th centuries. For a number of years, his works were published more than any other composer and he was a significant figure in many of Europe’s major cities. Writing in large scale orchestral and chamber settings, his contributions to the repertoire are representative of the musical style associated with the Classical period while also containing features unique to him.

In addition to his compositions, his publishing house distributed the works of many major composers of the time, including works by Boccherini, Beethoven, Clementi,

Cramer and Haydn, as well as pioneering the production of the miniature score. After his publishing house was established, he turned his interests to the manufacturing of pianos.

As much a businessman as a composer, he ran a publishing house, piano factory and worked as an impresario.

Though it was not originally scored for Harmonie, the Parthia in Dis is a significant contribution to the wind music of the Classical period due to its inherent style characteristics and musical quality. It is clearly representative of Pleyel’s compositional style and of the symphonie concertante as a genre. The nature of the original symphonie concertante provides opportunities for talented soloists to showcase their skills in the

106 context of Classical period forms. Written in 1786, its premiere was on the Schönfeld-

Pleyel Concert des amateurs, a concert series sponsored by the city of Strasbourg. While the work’s solo parts are sometimes virtuosic, the ensemble parts are more accessible. A possible explanation for this disparity could be that the piece was written for the Concert des amateurs, which involved amateur and community musicians as well as professionals employed by the Cathedral.

Conclusions

From the information in the RISM entries for the wind arrangements, Don Mus.

Ms. 1597 was created in 1800. This information is based on the evidence from a watermark, an impression left behind from the process of manufacturing the paper.

Though it is clear that the wind arrangement was based on Pleyel’s Symphonie

Concertante in Eb, it is not known whether the arrangement was made from a published edition, a published edition of an arrangement for another configuration, or manuscript parts of the original. If a published edition was used as the basis of the wind arrangements, it is not known which one.

It is likely that the wind arrangements were created for a specific ensemble for specific purposes, possibly a court or civic wind band. Research by Ichikawa indicates that a work by Pleyel titled Parthia in Es was part of the library of the Oettingen-

Wallerstein court Harmonie. Though their titles show similarity, it is not known if it is the same musical material as the Parthia in Dis. Since there are no identifying marks from the arrangers or copyists in either of the wind arrangements, it is unknown for what purpose or by whom the Parthia in Dis was created.

107 The tessitura and texture of the Don Mus. Ms. 1597 is similar to that of the original symphonie concertante. With only a few exceptions of octave displacements, the tessitura was maintained. It is the opinion of the author that these octave displacements were implemented because other instruments of the Harmonie whose ranges were congruent to the original orchestral material were assigned other musical roles. Texture is treated identically with only a few exceptions, consisting of the doubling of melodic and duet material.

Articulations discrepancies represent the largest differences between the wind arrangement and the original symphonie concertante. Most of these exist in the form of groupings of notes under slurs and placement of staccato articulations. The Parthia in

Dis uses only slurs and staccatos for articulation while the original symphonie concertante uses slurs, staccatos and strokes. The changes in articulation between the original symphonie concertante and the wind arrangements appear to be more the opinions of the arranger and less idiomatically necessary.

The original symphonie concertante was scored for solo violin, viola, cello and oboe with orchestral accompaniment for two horns and strings. Instruments used in both the original symphonie concertante and arrangements for Harmonie include the oboe and two horns. The horn parts in the Parthia in Dis use almost all of the original material.

New material exists in the form of melodic material in Movement I and accompanimental material in Movement II’s Variations II, III and V.

The oboe contains the most differences between the original and the wind arrangement. Material from the symphonie concertante oboe parts are used in only 168 measures of the Parthia in Dis and are assigned to other instruments in 111 measures.

108 The primary role of the oboe is the realization of string parts. It is responsible for melodic material from the 198 measures of the first violin, 22 from second violin, 32 measures from first viola and 22 from the cello.

After musical material of Don Mus. Ms. 1597 was entered into Finale 2011, an additional wind arrangement was discovered, Don Mus. Ms. 1571. After obtaining and examining these parts, it was discovered that they contained a greater level of internal detail and consistency than Don Mus. Ms. 1597. The parts contained in Don Mus. Ms.

1571 serve as the basis of the critical edition in Appendix A of this study. Appendices B,

C, and D detail editorial decisions made with respect to the edition, differences between

Don Mus. Ms. 1597 and 1571 and the relationship of thematic presentation, range, texture and articulation between the critical editions of the symphonie concertante and the

Parthia in Dis.

The Parthia in Dis contains many characteristic examples of Pleyel’s compositional style as represented by his keyboard works, string quartets, flute quintets, symphonies and symphonie concertantes. Of the works examined, the Parthia in Dis is the only to contain five movements. Works that contain two to four movements are more common, especially in the symphonies, string quartets and one other symphonie concertante. The first movements of multi-movement works are almost exclusively set in sonata form. The forms of the other movements vary by piece. Second movements are often in theme and variation form, works with third movements are often minuet and trio, and final movements are almost exclusively in rondo form. Binary and rounded binary forms are often used as the internal structures of theme and variation and rondo forms.

109 Thematic presentation is most varied in movements set in sonata and rondo forms.

First movements in sonata form use at least two, and sometimes three, complete themes in their expositions. The exposition’s first theme is typically more technical and the second theme more lyrical. Development sections adhere to the typical procedures, but sometimes, as is the case of the Parthia in Dis, a new theme is introduced and serves as the basis for the section’s thematic and harmonic exploration. With few exceptions, recapitulations use all thematic material and only vary the orchestration. As is the case with the Parthia in Dis, concertante passagework is the only thematic material eliminated in the recapitulation.

Tonal organization follows the protocol of both Pleyel’s and the Classical period’s paradigms. Harmony is characteristic of the period with the emphasis on the tonic, dominant, and sub-dominant with dominant seventh, diminished seventh, and secondary dominant chords are also used frequently. Modulations move to closely related keys and are approached through common or secondary dominant chords.

A detailed comparison of the manuscript parts contained in Don Mus. Ms. 1571 to the score created from Don Mus. Ms. 1597 revealed several interesting facts. With few exceptions, the structure, tessitura, tonal scheme, texture, and the placement of thematic and accompanimental material with respect to orchestration are treated identically between the arrangements. Along with the dates of the arrangements, the vast amount of these similarities suggests that Don Mus. Ms. 1597 is based on Don Mus. Ms. 1571.

The comparison also revealed that Don Mus. Ms. 1571 contains a significantly greater level of detail and internal consistency of articulation and dynamics between parts. If Don Mus. Ms. 1597 is indeed based on Don Mus. Ms. 1571, it is not known why

110 the level of detail is lacking with the latter arrangement. There are many differences with respect to articulations, most of which deal with note groupings under slurs and staccatos.

A comparison completed between the critical edition produced from Don Mus.

Ms. 1571 and the critical edition of the original symphonie concertante with respect to thematic presentation, range, texture and articulation also revealed several interesting facts. Articulations differ by groupings of notes under slurs and the use of staccatos in the wind arrangement versus the use of staccatos and strokes in the original symphonie concertante. With the exception of the use of strokes in the symphonie concertante, this is similar to the differences between the wind arrangements. Most of the melodic transfers happen at the same pitch level, but several exceptions of octave displacement occur, the majority being in Movement I. Texture between critical editions is mostly identical with exceptions consisting of melodic doubling and missing parts.

The Parthia in Dis shares many characteristics with Pleyel’s other symphonie concertantes. Though it his first contribution to the genre, it is Pleyel’s largest of the six with respect to movement structure. Most of his symphonie concertantes are three movements in length.

Forms used in the symphonie concertantes correspond to practices used in the other genres examined in this study. First movements are exclusively in sonata form.

Two of the symphonie concertantes used theme and variation form and one uses minuet and trio form for their second movements. Final movements are exclusively in rondo form, the Parthia in Dis being the longest of these.

Thematic presentation is congruent with Pleyel’s compositional style. Three of his symphonie concertante use two themes in the exposition of the first movement. The

111 development section introduces new thematic material in the Parthia in Dis as well as two of the other symphonie concertante. This new thematic material and concertante passagework serves as the basis for the development in these three works.

Recapitulations in the symphonie concertantes are usually inclusive of the exposition’s materials. Where the thematic material’s order is the same in the Parthia in Dis, the order of the themes’ return in three Pleyel’s symphonie concertantes, is varied.

Tonally, the Parthia in Dis is the most straightforward of Pleyel’s symphonie concertante. Other works use modulation, contrasting keys between movements and more advanced tonality in chord progressions to a greater degree.

Due to the fact that the two arrangements exist in separate shelf marks, that Don

Mus. Ms. 1597 is the first of a collection of seven partitas and that the watermarks indicate different dates of completion, it is likely that different arrangers made these arrangements. It is the belief of the author that Don Mus. Ms. 1597 is a copy of Don

Mus. Ms. 1571 and that the arranger who produced Don Mus. Ms. 1597 consulted an original setting of the work because the large-scale changes between the wind arrangements discussed above correspond to the original symphonie concertante setting of the work. While there are thousands of differences between the two arrangements, the vast majority of these are composed of a minutia of articulations and dynamics. It is difficult to fathom that two different arrangers would make so many of the same large- scale choices with regard to the transfer of material from the symphonie concertante setting to Harmonie.

112 The major differences between the two sets of wind parts relate primarily to the oboes and horns. The oboe parts in Don Mus. Ms. 1571 have a more significant melodic role and the horns less so. In Don Mus. Ms. 1597, the horns have a greater amount of melodic material, especially in movements I and II. The technical difficulty and extreme range of this material suggests that this arrangement was completed for a specific ensemble that possessed at least one strong first horn player but weak oboe players.

Recommendations for Further Research

While the present research revealed the answers to many of the problems initially stated, it also uncovered several others. Discerning the identity of the arranger(s) of the two wind arrangements, Don Mus. Ms. 1597 and 1571, proved to require an investigatory process outside the scope of this study.

The identification of the source material used to produce the Parthia in Dis also proved outside the scope of this study. It is the recommendation of this author that contemporaneously published editions be compared to the wind arrangements Don Mus.

Ms. 1571 and 1597 with respect to structure, thematic presentation, and errata to discern if the source material was one of the published editions of the work.

There are several works by Pleyel listed in The Wind Ensemble Catalog that have not been subjected to rigorous scholarship. The historical significance of the composer and the musical worth of the works themselves necessitate this research.

There are 49 works in The Wind Ensemble Catalog that are not in Benton’s

Thematic Catalog, some of which were unavailable for political reasons until the early

1990’s. Creating an addendum to Benton’s catalog would serve to potentially identify

113 previously unknown works by Pleyel or to document the existence of arrangements of known works in different forms.

Movement II’s Variation IV of Don Mus. Ms. 1571 (Variation V of Don Mus.

Ms. 1597) does not exist in the second edition Imbault parts. Ascertainment of the source material would prove valuable to the authenticity of this variation. Do other published editions of the original setting use this variation? If not, is its source material from a different work by Pleyel, the work of another composer, or did the arranger or copyist compose it?

Research has begun to uncover the specific repertoire used by the wind bands in

European courts. Do the works listed as Pleyel’s in this research correspond to works contained in the Thematic Catalog and The Wind Ensemble Catalog? Do Pleyel’s wind works exist in the repertoire of any other European courts?

Thousands of works like the Parthia in Dis are currently dormant in libraries throughout Europe. The methodological process detailed in this study, and others like it, could be replicated for Pleyel’s or other composer’s wind works that exist in only manuscript form. It is hoped that the present research will spark interest in these works of the minor composers and that compositions like the Parthia in Dis will broaden the base of Classical period repertoire for wind band.

114

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120

Appendix A: Critical Edition of the Parthia in Dis

121 Parthia in Dis Partita in E-flat major Ben 111 Ignace Joseph Pleyel Allegro (1757 - 1831) Critical Edition by John Oelrich Oboe Primo b œ œ œ œ & b b c Œ    Ó ˙ ŒÓ [ ] f sf Oboe Secundo b & b b c œ œ œ Œ    Ó ˙ œ Œ Ó f r œ w w œ œ. œ. œ œ œ. œ. œ œ . . S œ œ œ. œ. œ œ œ. œ. Clarinetto Primo œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b c œ œ f p  S r Clarinetto Secundo w w œ œ. œ. œ . . œ œ. œ. œ . . & b c œ œ œ Œ œ œ œ œ œ œ. œ. œ œ œ œ œ œ œ œ œ œ œ f p  S . . r . . r Corno Primo in Dis œ œ œ. œ. œ œ . . œ œ œ. œ. œ œ & c œ œ œ Œ Œ œ œ œ œ œ œ œ œ w w w f p  Corno Secundo in Dis œ. œ. œ œ & c Œ Œ œ. œ. œ œ . . œ. œ. œ œ œ œ œ . . œ. œ. . . w w w f p  ˙ ˙ Fagotto Primo ? œ œ œ ˙ ˙ ˙ bbb c Œ   Ó f p S Fagotto Secundo ? b c Œ   b b œ œ œ w w w f p

7 rK rK . . œ . . œ b œ œ œ œ œ œ. œ. œ œ œ œ œ. œ. œ œ œ. œ. œ œ œ œ œ & b b Ó ˙ Œ Œ ŒÓ   S f p rK rK b œ œ b b Ó ˙ œ Œ Œ œ. œ. œ œ œ œ œ œ œ œ ŒÓ   & œ œ œ. œ. œ œ. œ. . . œ. œ. œ œ r œ . .S f p œ œ œ œ œ œ œ œ œ œ œ rK rK b Œ Œ œ œ œ œ œ œ œ œ ŒÓ Ó ŒÓ & . . œ. œ. œ œ œ œ. œ. . . œ. œ. œ œ œ œ ˙ œ S f p S r œ & b œ œ œ œ œ œ œ œ œ œ Œ Œ rK rK ŒÓ Ó ŒÓ . . œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ 7 . . œ œ œ œ œ . . œ œ œ œ S f p ...... r S œœ w w œ œ. œ. œ œ œ. œ. œ œ œ œ. œ. œ œ œœœ. œ. œ œ œ. œ. & w œ œ œ. œœœ œ œ œœ f p ? & Œ   Ó w œ œ œ 7 ˙ w w f œ œ p ˙ ˙ œ œ œ ˙ ˙ ˙ ˙ ˙ ? bb Œ Ó Œ ŒŒ Œ b œ œ S f p S ? bb Œ   b w œ œ œ w w w f p

Copyright 2012 by John Oelrich 122 2

14 w w w œ b œ œ & b b  œ Œ Ó Œ œ p f p b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b b  ‰ ‰ ‰ ‰ œ œ œ œ Œ  p f œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b Ó œ Œ  S p f 1 œ œ œ œ œ œ œ œ œ b Ó œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ Œ & ˙ œ œ œ ˙! ˙! 14 r S p f p œ œ œ œ. œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ ‰ J ‰ œ œ ‰ J ‰ œ œ œ œ œ œ Œ  p f ? & ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ Œ  w œ œ œ œ œ 14 p f ? ˙ ˙ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ œ œ œ œ bbb ‰ ‰ ‰ J ‰ ! ! œ œ Œ Ó Œ S p f 1 p œ ˙ ˙ ? b œ œ œ ‰ ‰ œ œ œ ‰ j ‰ œ œ œ œ œ œ œ Œ ! ! b b w œ œ œ œ œ œ œ œ œ œ œ p f p

20 j œ. Ÿ œ œ œ b œ œ œ œ œ œ œ œ œn œ œ œ œ œ œ œ œ. œ œ œ œ œ. œn œ œ & b b œ œ œ Œ J œ œ Œ J œ ŒÓ J

b & b b        œ. . œn œ œ œ. œ œ œ œ œ & b      ‰ œ œ ŒÓ 2 3 4 5 6 p 7 8 b & ˙! ˙! ˙! ˙! ˙! ˙! ˙! ˙! ˙! ˙! ˙! ˙! ˙! ˙! 20

&       

&       

20 œ œ œ œ œ œ. œ œ œ œ Ÿ w œ w ? œ œ œn œ œ œ J œ œ œ œ bbb Œ Œ ŒÓ 2 3 4 5

? ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w w bbb ! ! ! ! ! ! ! ! w p

123 3

27 œ. b œ œ. œ œ œ œ œ œ œ œ œ œn œ œ œ œ œ œ œ œ & b b ŒÓ J œ. J J œ Œ Œ œ œ f b & b b     œn Œ œ Œ œ œ œn œ

œ œn œ œn œ œ œ œn œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b  œn œ ŒÓ   œn 3 3 3 3 3 & œ œ œ 3 3 3 9 œ œ œ f b ! ! ! ! Œ Œ & ˙! ˙! ˙ ˙ ˙ ˙ ˙! œ œ œ# œ œ œ œ œ œ œ 27 f &     œ Œ œ Œ œ œ œ œ f &      

27 œ œ. œ œ œ œ œ. œ œ œ œ œ œ ? J œ œ œ œn . œ œ œ J œ œ œ œ œ bbb ŒÓ J Œ Œ f ˙ ˙ œ œ œ œ œ œ ? bb w ˙ ˙ ˙! œ œ œn œ Œ Œ b ! ! ! ! [ ] f

33 b œ œ œn œ œ œ œ œ & b b ˙ ˙ œ œ œ Œ   

b & b b ˙n ˙ œ œ œn œ œ œ œ œ œ œn œ Œ    œn œ œ œ œn œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ. œ œ œ œ b œn 3 œ 3 3 3 œ œ œn œ œ œ œ œ œ œ œn œ. œn œ œ# & 3 3 3 3 3 œ J œ 3 3 3 J J p b Œ j œ œ œ. œ œn Œ œn . jœ œ œ œ & w ˙. œ w œ œ œ œ. œ œ œ J œ 33 p & w w œ ŒÓ œ œ œ Œ   

& w w œ ŒÓ œ œ œ Œ   

33 ˙ ˙ œ œ œ œ œ œ œ ? b œn œ œn Œ Œ Œ Œ œ Œ Œ œ Œ b b œ œ œ œ œ p œ ? b Œ Œ Œ Œ œ Œ Œ œ Œ b b w w œ œ œ œ œ [ œ] œ œ œ œ p

124 4

40 j œ œ œ œ# bbb    Ó Œ œ. œ œ œ œ œ. œ œ œ. œ œ œ œ œ. œ & œ œn J œ J J p b œ . œ j œ œ œ. œ œ & b b     Ó Œ œ œ J œn Œ œn . œ œ œ J œ p œ. œ œ œ# ˙ œœ œœœ œ œ. œ œ. œ œ œ œ b J œ œ œ J œ ˙ œ œ ŒŒ j Œ j j & œ œ œ. œ œ œ. œ œ œ œ œ œ. œ œ œ œ#

œ. œ œ ˙ œœ œœœ œ œ. œ œ. œ œ œ œ œ j & b J œ œ œ J ˙ œn œ ŒŒ j Œ j œ œ œ. œ œn œn . œ œ œ œ œ. œ œ œ 40 œ

&     œ ŒÓ Œ œ œ Œ œ ŒÓ Œ œ œ Œ p &     œ ŒÓ Œ œ œ Œ œ ŒÓ Œ Œ 40 p œ œ œ œ œ œ œ œ œ œ œ œ ? b Œ Œ Œ œ œ œ œ ŒÓ Œ œ Œ Œ œ Œ Œ Œ b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? b Œ Œ Œ œ œ œ œ ŒÓ Œ œ Œ Œ œ Œ Œ Œ b b œ œ œ œ œ œ œ œ

48 œ œ b œ. œn œ œ ˙ œ œ œ œ œ & b b J œ ˙ œ œ Œ Ó Ó ˙ œ

b œ. œ œ œ# œ œ œ & b b J ˙ œ œ œ œ œ ˙ œn œ Œ Ó Ó ˙n œ Œ Ó

b œ. œn œ œ œ œ œ ŒŒ ŒŒ & J ˙ œ œ œ œ œ ˙ œ œ œ w œ œ j & b œ œ œ# œ œ ŒŒ ŒŒ œ. œ ˙ œ œ œ œ œ ˙ œn œ œ w œ œ 48

& w ˙ Ó Ó ˙ œ ŒÓ  

& Ó Ó ˙ œ ŒÓ  

48 w ˙ ˙ ˙ ˙ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? b ! ! ! ! ˙ ˙ œn œ œ œ œ œ œ œ œn œ œ œ œ œ œ œn œ œ œ œ œ œ b b ! ! œ œ œn œ œ œ œ œ ˙ ˙ ˙ ˙ ? b ! ! ! ! ˙ ˙ ŒŒ ŒŒ b b ! ! œ œ ˙ ˙ œ œ

125 5

54 b œ œ & b b Ó ˙ œ ‰ J œ ‰ J œ  

b j j & b b Ó ˙n œ ‰ œn œ ‰ œ œ Œ Ó  

j j ! ! ! œ œ. œ. & b w œ ‰ œ œ ‰ œ œ Œ ˙ ˙ ˙ œ œn œ. œ. œ

& b ‰ j ‰ j ! w œ œ œ œ ˙! ˙! ˙! œ œ œ œ ˙ œ œn œ œ 54 . .

&     

&     

54 3 œn œ œ œ œ œ œ œ œ œ œ œn œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œn œ œ œn ˙ ? b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b b œn œ œ 3 œ œn œ

? b ˙ ‰ j ‰ j ! ˙ ˙ ˙ ˙ b b ˙ œ œ œ œ ˙ ! ! ! ! ˙!

59 b & b b      

b & b b      

œ j & b ŒŒ‰ œ œ ŒÓ ‰ œ œ œ œ Œ œ Œ œ Œ œ Œ œ Œ œ ŒÓ

b ŒŒ‰ j ŒÓ ‰ Œ Œ Œ Œ Œ ŒÓ & œ œ œ œ œ œ œ œ œ œ œ œ 59

&      

&      

59 r r r œ œ ˙ œ . œ œ œ œ œ œn œ œ œb œn œ. œ œb œn œ. œ œ. œ œ. œ ? œ œn œ œ œ œn œ œ œ. œ. œn œ œn œ œ œ œ bbb œ œ œ œ œ œ ‰ œ œ œ œ œ œ œn ? j œ œ œ œ œ œ œ œ œ bbb œ ŒŒ‰ œ œ ŒÓ ‰ Œ Œ Œ Œ Œ ŒÓ

126 6

rK 65 œ rK œ. œ œ œ œ œ œ b œn œ œ œn œ. œ. œ œn œ œ œ œ œ ˙n œ œ ˙n & b b  3 ŒÓ Ó Ó f S S b j j ˙ ˙ ˙ ˙ ˙ ˙ ˙ & b b  wn œ œ œ œ œ œ Œ f p S S w# ˙. œ œ & b ! ! Œ‰ œ œ œ ‰ œ œ œ ‰ ‰ ‰ œ œ œ ‰ œ œ œ ‰ ˙ ˙ [ ] [ ] œ œ œ œ œ œ œ œ œ f p

& b j j j j Œ‰ œ ‰ ‰ ‰ ‰ œ ‰ ‰ ˙! ˙n ! œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 65 f p w &  w w w w w f p w &  w 65 f w w w w Ÿ p ˙ ˙ ˙ ˙ ? ˙ ˙ œ œ œ œ œ œn œ œ œ œ œ ˙ ˙ ˙ bbb J J J J Œ f p S p S ? b ˙ ! ! ! ! ! ! ! ! ! ! ! ! b b ! ˙! ˙ ˙ ˙n ˙ ˙ [ ˙] ˙ [ ˙] ˙ ˙ ˙ [ ˙] f p sf sf

72 œ œ œ b œ œn œ œ œ œn & b b ŒÓ     ŒŒ p S p S b œ œ œ œ œ œ & b b ŒÓ     Œ œ œ f f 3 p p œ œ ˙ œ œ œ. œn œ œ œ œ œ . œ œn œ œ œ œ œ b œ œn œ œ œ œ œ œ œ œ œ œ œ œ œ# œn œ œ œ# œ œ œn œn œ œ & œ 3 3 œ œ œ œ œ œ œ œ œ ˙ œ œ 3 œ p f p f œ b ! ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙n œ & œ œ œ œ œ œ œ œ œ œ œ œ ˙ ! ! ! ! ! ! ! ! ˙. 72 p f p f & w œ ŒÓ     w p & ŒÓ     

72 w œ œ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ ? bb ! ! ! ! ! ! ! ! ! ! ŒŒ b [ ] [ ] p f p f ? œ bb œ œ œ œ œ œ œ œ ˙! ˙! œ ŒÓ    œ œ œ b [ ][ ][ ][ ] p f p f

127 7

79 œ œ . œ. . b œn ˙ Ÿ œ œ. œ. œn & b b ŒŒ   ˙ œ J ‰ p Ÿ . œ. œ. bbb œ œ œ ŒÓ   ˙ œ œ œ. œ. ‰ & œ œ ˙n J 3 p œn œ œn œ œ œ œ œn œ œ œ# œ œn œ œ œ œ œ œ œ œ œ œ œ œ œ# œ Ÿ œ œ b œ œ œn œ œ œ œn œ œ œ œ œ œ œ œ# œ œn œ ˙ œ ŒÓ & œ 3 3 œ œ œ œ œ œ ˙ 3 œ œ

b ˙ ˙ ˙ ˙ œ ŒÓ & w ! ! ! ! ! ŒÓ ˙! ˙! œ 79

& w œ ŒÓ    

&       79 œ œ œ œ œ œ œ ˙ ˙ ˙ ? b ŒŒ ! ! ! ŒÓ ˙ Œ Œ b b ! ˙! œ œ p ? b œ œ œ ! ˙ ˙ ˙ œ ŒÓ ˙ Œ Œ b b œ ˙ ! ! ! ! ˙! œ œ p

85 r r r r . . . œ . œ. . . . . œ . œ. . . . . œ . œ. . . . . œ b œ œ œ œ œ œ œ œ œ œ. œ. œn œ œ œ œ œ œ œ œ. œ. œn œ œ œ œ œ œ œ œ œ œ. œ. œn œ œ œ œ œ œ & b b J ‰ J ‰ J ‰ J ‰ œ œ J ‰ J ‰ J ‰ J ‰ J ‰ œ f r . r . r . r . . . œ . œ œ. . . . œ . œ œ. . . . œ . œ œ. . . . œ bbb œ ‰ œ œ œ œ œ œ œ ‰ œ œ. œ. ‰ œ ‰ œ œ œ œ œ œ œ œ. œ. ‰ œ ‰ œ œ œ œ œ œ œ ‰ œ œ. œ. ‰ œ ‰ œ œ œ œ œ & J J J J œn J J J J J œn f ˙ ˙ ˙ œ ˙ ˙ ˙ œ j Œ & b Ó ˙n ŒÓ Ó œ. œ œ Œ p f . . j r . . j r & b Ó ˙ œ ŒÓ Ó ˙ œ œ j‰ œ œn œ ‰ œ œ œ œ j‰ œ j‰ œ œn œ ‰ œ œ œ . œ. œ. . . . œ œ œ œ . œ. œ. . . . œ œ œ œ 85 p f    Œ j‰ j‰ ˙ j‰ j‰ j‰ ˙ & œ. œ. œ. œ. œ. œ. œ. œ. œ œ. œ. œ. œ. œ. œ. œ. œ. f j &    Œ j‰ j‰ ˙ œ ‰ j‰ j‰ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 85 ...... r ...... r fœ. . . œ œ œ. œ. œ. œ œ œ. . . œ œ œ. œ. œ. œ ? ˙ ˙ œ œ œ J œ œ œ œ œ œ J œ œ œ œn bbb œ Œ œ Œ œ Œ œ Œ J ‰ ‰ J ‰ J ‰ ‰ f ? b Œ ˙ Œ Œ Œ ˙ j‰ j‰ j‰ j‰ j‰ b b œ œ œ œ œ œ. œ. œ. œ. œ. œ. œ. œ. ˙ œ œ. œ. œ. œ. œ. œ. œ. œ. ˙ f

128 8

92 r r r . . œ œ. œ. . . œ œ. œ. . . œ ˙ ˙ ˙ ˙ œ œ b œ. œ. œ œ œn œ œ œ. œ. œ œ œn œ œ œ. œ. œ œ œn œ œ œn œ œn œ & b b œ ! ! ! ! ŒŒ ŒŒ

r r r ˙ ˙ ˙n œ b œ œ œ b b œ œn œ œ œ œn œ œ œ œn œ ˙ ! ! ! ŒŒ œ œ œ ŒŒ œ œ & œ. œ. œ. œ. œ . . œ. œ. œ. œ. œ . . œ. œ. œ. œ. œ ! œn œ œn œ œn w ˙ ˙n œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b œ œ œ œ

˙ ˙ ˙ b ŒŒ œ œ œ œ ŒŒ œ œ œ œ ŒŒ œ œ ˙ œ œ œ œ œ œ œ œ & œ œ œ œ œ 92

& œ ˙ œ w w ˙ Ó Ó ˙ œ ŒŒ œ œ œ ŒŒ œ œ

& œ Ó Ó ˙ œ ŒŒ œ œ œ ŒŒ œ œ

92 ˙ œ w w ˙ œ œ œ œ ? b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ŒŒ ŒŒ b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ŒŒ ŒŒ b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

99 œ œ œ œ œ œ œ œ b œn œ œ œ ˙ œ œ œn œ. œ œ œ œ œ œ œ œ. œ & b b Œ . J œ Œ J œ Œ  p b œ œ œ œ & b b œ œ œ œ œ œ œ Œ .      œn œ œ œ œ œ b œ Œ . & . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ p  œ œ œ œ œ & b œ œ œ œ œ œ Œ . œ œ œ œ œ œ œ œ œ œn œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œn œ œ œ [ œ]œ œ œ œ œ œ œ 99 p pp ˙ ˙ œ œ œ . & ! ! Œ .     

˙ ˙ . & ! ! œ œ œ Œ .      99 œ œ œ ? b Œ . Œ Œ œ Œ Œ Œ œ Œ œ Œ Œ ˙ œ b b œ œ œ œ œ œ œ œ œ œ œ . œ œ œ œ œ p ? b Œ . Œ Œ œ Œ Œ Œ œ Œ œ Œ Œ Œ Œ b b œ œ œ œ œ œ œ œ œ œ œ . œ œ œ œ œ œ œ p

129 9

106 œ. œ. œ. œ. b œ œ œ œn w w w & b b   œ œ œ p b w w & b b    w p . œ. . œ. w & b œ œ œ œ œ œ œ œ œ œ ŒÓ œœœœœ œ w œ œ œ œ œ œ œ [ œ] œœ p & b œ œ œ œ œ œ œ œ ŒÓ    œ œn œ œ œ œ œn œ œ 106

&      

&      

106 j œ œ œ œ œ Ÿ. œ œ œ . . . . ? œn œ œ œ œ œ œ œ œ œn œ œ œ œn œ œ œ œ w bbb œ œ ŒÓ  œ œ œ œ p œ. œ. œ. œ. ? b Œ œ Œ Œ œ ŒÓ   œ œ œ œ œn b b œ œ œ œ œ œ p

112 j œ œ œ œ ˙ œ œn œn œ ˙n bb œ œ œ œ œ œ œ œ œ œ œ œ œn œ œ œ œ œ œ œ Œ Ó & b J J J J J J J J f p œ b œ j j j œ œ œ œ œ œ œ œ œ œ œ & b b J œ œ œ œ œ œ œ œ œ J œn J J J Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ f p w ˙. œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ & b J œ# J J J Œ  f p . . . . œ œ œ œ œ œ œ b œ œ œ œ œ œ œ# œ œ œ œ œ œ œ# œ J J œ# œ Œ   & œ œ œ œ œ J J J J 112 f w œ œ œ œ & w ŒÓ  Œ   f ŒÓ  Œ   & w œ œ œ œ 112 w f œ œ œ œ œ œ œ œ ? b œ ! œ œ œ œ œ œ œ œ œ œ œ b b œ œ œ ˙ ˙! ˙! œ œ œn œ œ œ œ œ Œ p f ? b ! ! œ œ œ œ œ œ  b b ˙ ˙ ˙! ˙! œ œn œ œ œ Œ  f

130 10

119 j œ œ ˙ œ œ ˙ œ œ œ œ b ˙ œ œ œ œ ˙ ˙ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b b Ó J J ‰ ‰

˙ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ bbb ˙ œ œ œ ˙ ˙n ‰ œ œ ‰ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J J

j œ ˙ œ œ œ œ & b ˙# Ó œ ŒÓ      1 2 3 4 5 6

b   & ˙! ˙! ˙! ˙! ˙! ˙! ˙! ˙! ˙! ˙! ˙! ˙! 119 p &        

&         1 2 3 4 5 6 119 ? œn œ œ œ œ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ bbb ! ! ! ! ! ! ! ! ! ! ! !

? bbb        

127 ˙ ˙n œ œn œ œ œ œ ˙ œ œ Ÿ ˙n b œ. œ œ œ. œ œ œ œ œ œ œ œ œ œ ˙ ˙ œ œ & b b J Œ J Œ ˙ Ó Ó S

b œ ˙ œ œ œ œ ˙ œ œ œ Ÿ œ b b œ. œ œn Œ . œ œ Œ ˙ œ ˙ ˙n œn œ Œ‰ œ œ œ ‰ ‰ & J J [ ] œ œ œ œ œ œ p ˙ ˙ ˙ & b       Ó p S ˙ ! ! ! Ó ˙ ˙ & b œ œ œ ! ! ! ˙ œ œ œ œ ! ˙ ˙ ˙! œ ˙ ˙ ˙ ˙ ˙! 127 p S &        Ó ˙ S        Ó & [ ˙] 127 sf œ œ œ ˙ œ œ œ œ œ œ ˙ ˙ ˙ œ œ œ œ œ œ œ œ œ ? b ˙ ˙ ! ! ! ˙ ˙ Œ‰ ‰ b b ! ! œ œ œ ! ! ˙! œ ‰ 1 p 2 ? b       ˙! ˙! ˙! ˙! b b [ ] p sf

131 11

135 œ. ˙n œ œn œ œ œ œ œ œ œ r b œ œ œ œ œ œ œ ˙ œ ˙# ˙n œ w & b b Ó Ó œ S p b b b ‰ ‰ œ œ œ ‰ ‰ œ œ œ ˙ ˙ ˙ ˙ ˙n œ œn & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ! ! ! ! ! œ œ p ˙ ˙ ˙ ˙ œ œ œ œ œ œ œ œ# œ œ œ œ œ œn b ŒÓ   œ œ# œ & 3 3 3 3 S p ˙ ˙ b ˙ ˙ œ œ œ œ œ ŒÓ  Ó ˙ w & [ ] 135 S p & ˙ Ó Ó ˙ œ œ œ œ œ ŒÓ    S

& ˙ Ó Ó ˙ œ œ œ œ œ ŒÓ    135 S œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙n ˙ ˙ ˙ ˙ œ œ ? ! ! ! ! ! bbb ‰ ‰ ‰ ‰ ! ŒŒ 3 4 5 p ? b ˙! ˙! ˙! ˙! ˙! ˙! œ ŒÓ   œ œ œ b b [ ] œ sf

142 b w ˙ w & b b   w f b & b b œ œ œn ˙ ˙ ˙ j jœ œ œ ˙ ˙n œ ˙ œ œ œ œ [ œ ] œ œ J J f œ œ œ œ œ œ œ œ œn œ œ œ œ œ œ œ œ œ œ œ œ œ œ# œ œ œ œ# œ œ œ œn œ œ œ# œ œ œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J J J J J J b 3 3 œ# 3 3 3 3 3 3 3 œ# 3 œ# œ œ œ & 3 3 3 3 3 3 J J f & b w w ˙ ˙ w œ œ œ œ ˙ ˙ ˙! [ ] ! ! 142 f ˙ &      ˙ f ˙ &      ˙ [ ] 142 f œ œ ˙ ˙n œ œ œ œ œn œ œ œ œ œ ˙ ? b ! ˙ ˙ ˙ b b ŒŒ ! ! ! f ? b œ œ ! ! b b œ œ w w œ œ œ œ ˙ ˙ ˙! ˙! f

132 12

148 U b œ œ œ œ & b b ŒŒ œ œ œ œ œ w w ˙. œ œ œ œ œ ˙. œ œ œ œ œ ˙ Ó Œ p f b U & b b œ ŒŒ œ œ œ œ œ w w ˙. Ó œ œ œ Œ [ ] œ œ œ œ œ ˙. œ œ ˙ œ ˙ p f œ ˙ œ œ œ œ œ ˙ œ œ œ œ œ U˙ œ œ œ œ œ œ . . œ œ œ œœ œ œ & b ŒÓ  Ó Œ Ó œ œ p f œ œ œ œ œ ˙. œ œ œ œ œ œ œ œ U b œ ŒÓ  Ó Œ ˙. œ œ ˙ Ó œ œ œ Œ & [ ] 148 p f œ U & ŒŒŒ  Ó Œ œ œ œ œ œ ˙. œ œ œ œ œ ˙. œ œ œ œ œ ˙ Ó œ œ œ Œ p f U œ ŒŒŒ  Ó Œ œb œb œ œ œ ˙. œb œb œ œ œ . œb œb œ Ó Œ & ˙ œ œ ˙ œ œ œ 148 p f wb w . U ? œ œ œ œ œ ˙ bbb œ ŒŒ œb œb œ œ œ ˙. œb œ œb œ œ ˙ Ó œ œ œ Œ p f U ? b œ ŒŒ œ œ œ œ œ wb w ˙. œb ˙b . œ . œb œb œ Ó Œ b b ˙ œ œ ˙ œ œ œ p f

158 b œ œ œ œ & b b    Ó ˙ ŒÓ Ó ˙ Œ S S f b & b b    Ó ˙ œ Œ Ó Ó ˙ œ œ œ Œ [ ] [ ] r r . . . . œ sf . . . . œ sf f w w œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ. œ œ œ œ œ œ œ & b Œ p S S f r r w w œ œ. œ. œ . . œ œ. œ. œ . . œ & b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ. œ œ œ œ œ œ œ Œ 158 p S S f . . r . . r œ œ œ. œ. œ œ . . œ œ œ. œ. œ œ œœ & Œ œ œ œ œ œ œ œ œ w w w w œ œ œ. œœœ p p f œ. œ. œ œ & Œ œ. œ. œ œ . . œ. œ. œ œ Œ . . œ. œ. . . w w w w œ œ œ 158 p p f ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ ? bb   Ó Œ b [ ] [ ] œ œ sf sf f ? b   Œ b b w w w w œ œ œ p f

133 13

165 rK rK . . œ . . œ b œ œ œ. œ. œ œ œ œ œ. œ. œ œ œ. œ. œ œ œ œ œ & b b Œ ŒÓ    p rK rK b œ œ b b Œ œ. œ. œ œ œ œ œ œ œ œ ŒÓ    & œ. œ. œ œ. œ. . . œ. œ. œ œ p rK rK ˙ b Œ œ œ œ œ œ œ œ œ ŒÓ Ó ŒÓ Ó & . . œ. œ. œ œ œ œ. œ. . . œ. œ. œ œ œ œ ˙ œ p S S

& b Œ rK rK ŒÓ Ó ŒÓ Ó œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ ˙ 165 . . œ œ œ œ œ . . œ œ œ œ p ...... r S r S . . œ . . œ w w œ œ œ œ œ œ. œ. œ œ œ. œ. œ œ œœœ œ œ œ œ. œ. œ œ œ. œ. œ œ & œ œ œœ œ œ p ? &   Ó &

165 ˙ w w w œ œ œ œ p ? ˙ ˙ ˙ ˙ ˙ ˙ ˙ bbb Ó Œ ŒŒ Œ p S S ? b   b b w w w w p

171 w w œ œ œ œ ˙b b œ œ œ œ & b b ˙b ˙ œ Œ f b œ œ œ œ œ œ œ œ œ œ œ œ œ j ! ! & b b ‰ J ‰ ‰ J ‰ J œ œ œ œ w ˙ ˙ f œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙b œ œ œ œ & b Œ ˙ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w & b ‰ ‰ ‰ J ‰ J J J J 171 f œ œ œ œ œ œ w & œ œ œ ‰ J ‰ œ œ œ ‰ J ‰ œ ŒÓ œ ŒÓ f j j & ‰ œ œ œ ‰ ‰ œ œ œ ‰ ŒÓ ŒÓ œ œ œ œ œ œ œ w œ 171 f ? œ j j œ œ œ œ œ œ ˙ ˙ ˙ ˙ bbb œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ ! ! ! ! f ? b œ œ œ ‰ ‰ œ œ œ ‰ j ‰ ! ! ! ! b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ ˙ ˙ f

134 14

176 œ œ œ œ b œ œ œ œ œ œ & b b œ Œ      

b œ œ & b b ˙. œ œ Œ       œ œ œ œ œ œ œ œ œ œ œ œœ œ b j œ œ œ. œ . jœ œ œ œ. œ œ œ œ# œ. œ œ. œ œ œ & œ œ. œ œ œ J œ œ œ œ# œ J J p œ œ ˙ œ j j . œ œ œ œ œ & b œ œ Œ j œ œ œ. œ œ Œ œ. jœ œ œ œ œ. œ œ œ œ J œ œ. œœœ œ œ œ. œ œ œ œ 176 p & Ó Œ œ œ œ œ Œ      

& Ó Œ œ œ œ œ Œ      

176 ˙ œ œ œn œ œ œ œ ? b ! Œ Œ œ Œ Œ Œ Œ Œ Œ œ Œ œ œ œ œ ŒŒ œ b b œ œ œ œ œ œ œ p ? b b b ˙! œ œ œn œ œ Œ       œ œ

r 184 œ œ œ œ œ œ. œ œ œn œ. œ œ œ œ œ. œ . œ œ œ œ œ œ œ Ÿ b œ. œ œ œ œ œ. J œ œ. œn œ œ J œ J œ J œ œ œ œ & b b Ó Œ œ J œ J p œ œ œ œ. œ œ œ . œ œ œ b œ œ œ. œ œ œ. œ œ œ œ œ. œ œ œ œ . œ œ œ œ œ œ œ œ & b b  Ó Œ J J ‰Œ J J J J p r œ b œ œ Ó Œ œ œ j‰Œ j œ œ œ. œ œ œ# œ. œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ & ˙ œ œ œ. J œ œ. œ# œ œ J œ J œ J . œ œ j j j j b œ Ó Œ Œ j œ . œ œ œ. œ œ œ. œ œ œ & œ ˙ œ œ œ œ. œ œ œ. œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ 184 œ &  œ ŒÓ Œ œ œ Œ œ ŒÓ Œ œ œ Œ w ˙ Ó Ó œ p &  ŒÓ Œ Œ œ ŒÓ Œ Œ Ó Ó œ œ œ œ œ w ˙ 184 p œ œ œ œ œ œ œ ˙ ? b Œ Œ œ Œ Œ Œ Œ Œ Œ œ Œ ˙ ˙ ˙ ˙ ˙ ! b b œ œ œ œ ! ! ! ! ! œ œ œ œ ˙ ? b  Œ œ Œ Œ Œ Œ Œ Œ œ Œ ˙ ˙ ˙ ˙ ˙ ! b b œ œ ! ! ! ! ! p

135 15

192 b œ & b b ŒÓ w œ Œ Ó w

b œ & b b ŒÓ w œ ŒÓ w œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b œ ŒÓ œ œ œ ŒÓ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b œ œ œ œ œ œ w œ œ œ œ œ œ w 192

& œ ŒÓ w  w

ŒÓ ŒÓ & œ œ 192 w w œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bbb œ ŒÓ œ ŒÓ œ œ œ œ ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bbb œ œ œ œ w œ œ œ œ w

196 œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ & b b Œ Œ ‰ J ‰ J

bb w w œ ‰ œ œ ‰ œ œ Œ Ó & b J J œ œ œ . . œ. œ œ . . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b œ Œ Œ p & b ‰ œ œ ‰ œ ˙! ˙! œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J J 196 œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ œ œ & ˙ ˙ œ ‰ J œ ‰ J œ ŒÓ p j j & ˙ ˙ ˙ ˙ œ ‰ œ œ ‰ œ œ ŒÓ 196 p œ œ œ œ. œ. œ œ œ œ œ. œ. œ œ œ œ ˙ ˙ ? b œ Œ Œ ‰ J ‰ J ! ! b b [ ] p ? b ˙ ˙ œ ‰ j œ ‰ j ˙ ˙ b b ˙ ˙ œ œ ! ! p

136 16

200 b œ. œ œ & b b       œ œn œ. œ. S b j j & b b       œ œ œ œ œ S œb œ r Ÿ Ÿ œ Ÿ œ œ œ œ œ. œ. œ œ œ œ j œ œ ˙ œ w b œb œ œ ˙ œ œn . œ œ œ œ œ œ œ œ œ œ œ œ J & œb œ J ˙ S ! & b ! ! ŒÓ ˙ ˙ œn œ œ œ œ ˙! ˙! ˙! œ œ œ œ ˙ ˙ œ œ œ œ œ œ œ œ œ ! J J 200 S &       w S w &       200 S ˙ ˙ ˙ ˙ ˙ ˙ œ œ œ œ ˙ œ ˙ ˙ ˙ ˙ ? ! ! ! ! ! ! ! ! ! bbb ŒÓ ! ! S ˙ ? b ! œ œ œ ˙ ! ˙ œ ŒÓ ! ! ˙! ˙! b b ˙! ˙! ˙ ˙! œ ! ˙ ! ˙ S

207 r œ œœœ œ œ œ œ bbb œœ œœœ œœœ œ ŒÓ Ó ˙ œ œ œ Ó Ó ˙ œ œ œ œ œ œ œ  & [ ] [ ] [ ][ ] sf sf sf sf b b b œ Œ ˙ ˙ ŒÓ  & ˙. œ ˙ [ ˙] ˙ ˙ [ ˙] œ [ œ] œ [ œ] œ sf sf sf sf ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ œ œ œ b ˙ Ó Ó ŒÓ  & [ ] [ ] [ ] [ ] sf sf sf sf œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b Œ‰ ‰ ‰ œ œ œ ‰ œ œ œ ‰ ‰ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙! ˙! ˙! J J [ ] [ ] 207 sf sf & ˙ Ó w w w w w œ ŒÓ 

? & ˙ Ó ŒÓ & 

207 w w w w w œ œ œ œ œ œ œ ˙ ˙ ˙ ˙ œ œ œ œ œ œ œ œb ˙b ˙ ? b J J Œ ˙ ˙ ˙ J J œ œ œ b b [ ] [ ] J sf sf ? bb ˙! ˙ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ ˙ ˙ ˙ œ ! ˙! b ! [ ] ! ! ! œ œ œ ˙ sf

137 17

215 w w œ b & b b    ŒÓ p b œ œ & b b    Œ œ œ œ œ œ œ ŒÓ p œ œ œn œ œ œb œ œ œn œ œ œb œ œ œn œ œ œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ# b    3 3 3 œ œ 3 3 œ œ 3 3 3 & 3 3 3 3 p ! & b ˙! ˙! ! ˙ œ ! ŒÓ ˙ œ œ œ ˙ [ w] w œ 215 p w w œ &    ŒÓ p &       215 ˙ œ œ œn œ ˙ œ œ. œ œ œn œ œ œ. œ œ œ œ œ ˙ œ œ ? b œ ŒŒ ŒŒ ŒÓ b b 3 3 [ ] p œ œ ? bb ˙b ! ˙! ˙! ˙! ˙ ˙ œ œ œ œ œ œ œ ŒÓ b ! ! [ ] p

221 b ˙ ˙ œ & b b œ ŒÓ ‰ œ œ œ œ œ Œ Ó ! ! ŒÓ Ó ˙ œ p b ˙ ˙ œ & b b œ ŒÓ ‰ œ œ œ œ Œ œ ŒÓ ! ŒÓ Ó ŒÓ ! [ ˙] œ 3 3 . . Ÿ p œ œ œ œ œ œ . r . œ œ œ ˙ œ j œ œ. . œ j œ œ. b œ œ œ œ œ œ œn œ œ# œ œ œ œ œ œœœœ œ œ œ œ œ œ ˙ J ‰ œ. œ. œ ‰ œ ‰ œ œ œ œ œ œ œ ‰ œ. œ. œ. ‰ & 3 œ œ# œ 3 œ œ . J . p . r j . œ œ & b ŒÓ ‰ Œ ŒÓ ˙! ˙ œ ‰ œ œ j‰ œ œ œ ‰ œ œ œ œ œ j‰ œ œ ‰ . œ. œ œ œ œ œ œ ! . . œ. J œ œ. . . œ. 221 p &    ˙ ˙ œ ŒÓ  

     & ˙ ˙ œ ŒÓ 221 ? œ œ œ œ œ œ ˙ bbb ŒÓ ‰ Œ ŒÓ ! ˙! œ Œ œ Œ œ Œ ˙ œ Œ œ Œ p ? b ˙ b b œ ŒÓ ‰ œ œ œ œ Œ œ ŒÓ ! ˙! œ Œ œ Œ œ Œ ˙ œ Œ œ Œ p

138 18

228 . . r . . r œ. . . œ œ œ. œ. œ. œ œ œ. . . œ œ œ. œ. œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ & b b Ó ˙ Œ J ‰ J ‰ J ‰ J ‰ J ‰ . r . r . œ œ. . . . œ . œ œ. . . . œ b œ œ. œ. œ œ œ œ œ œ œ œ œ œ. œ. œ œ œ œ œ œ w w & b b Ó ˙ Œ J ‰ J ‰ J ‰ J ‰ J ‰ œ

. r r œ œ. œ œ . . r . . r œ œ œ œ œ œ œ. . j œ œ œ. œ. œ. œ œ j œ. . j œ œ œ. œ. œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b J ‰ œ œ. ‰ J ‰ œ œ œ œ ‰ œ œ. ‰ J ‰ œ œ œ œ

. . r . r b œ ‰ œ œ. œ œ œ œ œ j‰ œ œ. œ ‰ œ œ œ œ j‰ œ j‰ œ œ. œ. ‰ œ œ œ & J œ . œ. œ. J . . œ œ œ œ . œ. œ. J . . œ œ œ œ w w 228 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w w &  Œ J ‰ J ‰ œ œ œ J ‰ J ‰ J ‰ ˙

&  Œ j‰ j‰ j‰ j‰ j‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w w 228 œ œ œ ˙ œ. œ. œ. œ. œ. œ. œ. œ. ˙ œ. œ. œ. œ. œ. œ. œ. œ. œ. ˙ œ ? J J J J œ œ œ œ œ œ œ bbb œ Œ ˙ œ ‰ ‰ ‰ ‰ œ œ œ œ œ œ œ œ

? œ œ œ œ œ œ œ bbb œ Œ ˙ œ j‰ j‰ œ œ œ j‰ j‰ j‰ œ œ œ œ œ œ œ œ œ œ œ œ. œ. œ. œ. œ. œ. œ. œ. œ œ. œ. œ. œ. œ. œ. œ. œ.

235 œ œ œ œ œ œ ˙ ˙ ˙ ˙ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ & b b ! ! ! ! ŒŒ ŒŒ Œ Œ Ó f b w œ œ œ œ ˙ ˙ ˙ œ & b b ! ! ! Œ Œ œ œ œ Œ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ œ Œ ˙ Ó

r f œ œ œ œ œ w ˙ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ & b œ œ œ œ œ ŒŒ ŒŒ Œ Œ Ó f œ œ œ œ œ œ œ œ œ œ b ˙ ˙ ˙ ˙ ŒŒ œ œ ŒŒ œ œ œ œ œ œ Œ œ Œ ˙ Ó & w ! ! ! ! œ 235 f ˙ ˙ œ œ œ œ œ œ œ œ œ œ ˙ & w ˙ ˙ œ œ œ Œ Œ œ œ Œ Œ œ œ œ œ Œ Œ Ó p p f & ˙ ˙ ˙ œ œ Œ Œ œ œ Œ Œ œ œ œ œ œ œ œ œ œ œ œ Œ œ Œ ˙ Ó w ˙ œ œ œ 235 p p f œ œ œ œ œ œ œ œ œ ? bb œ œ œ œ œ ˙ ˙! œ ŒŒ œ ŒŒ œ œ œ œ œ Œ Œ Ó b ! œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ f œ œ œ œ œ œ œ œ œ ? bb œ œ œ œ œ ˙ ˙! œ ŒŒ œ ŒŒ œ œ œ œ œ Œ Œ Ó b ! œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ f

139 Andante con variazio b & b b 42         .

b & b b 42         .

r r œ r œ j œ r œ œ œ & b 42 œ. œ  œ œ œ œ œ œ œ œ œ œ ‰ œ. œ  œ œ œ œ œ œ œ œ œ œ j ‰ . J œ œ œ J 3 3 œ œ p j r j r b 2 œ. œ  r œ j ‰ œ. œ  r œ ‰ . & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ j p œ œ œ œ œ œ 2 ‰ œ œ ‰ œ œ œ œ œ œ ‰ œ œ ‰ œ œ œ ‰‰ œ œ œ ‰ . & 4 J J ‰ J J ‰ J ‰ J J ‰ J J ‰ J J J . p 2 ‰ œ œ ‰ ‰ j j ‰ œ j ‰ ‰ œ œ ‰ ‰ j j ‰ j ‰‰ j j ‰ . & 4 J J œ œ œ œ œ J J œ œ œ œ œ œ . p œ œ œ œ œ œ œ œ œ œ œ œ œ ? 2 J J J œ œ œ J J J J . bbb 4 ‰ ‰ ‰J ‰ J ‰ ‰ ‰ ‰ ‰ . p œ ? b 2 ‰ œ œ ‰ j œ œ ‰ œ ‰ œ œ ‰ œ œ ‰ j œ œ j ‰ . b b 4 J œ œ œ J J œ J œ œ œ œ œ œ œ œ œ p

9 b & b b .         .

b & b b .         .

r œ œ œ œ j œ r œ œ . œ œ œ. œ œ œ œ œ œ j œ. œ  œ œ œ œ œ j ‰ . & b . œ. œ œ œ œ œ œ œ ‰ J œ œ œ œ œ œ œ œ .

j j r r & b . œ œ œ. œ œ œ œ œ œ œ œ œ œ j ‰ œ. œ  œ œ œ j ‰ . œ. œ œ œ œ œ œ œ œ œ œ œ œ œ 9 œ œ œ œ . ‰ œ œ ‰ ‰ œ œ ‰ ‰J J ‰ œ œ ‰ ‰ œ œ ‰ œ œ ‰ œ ‰‰ œ œ œ ‰ . & . J J J J ‰ J J J J ‰ J J J J J .

. ‰ j j ‰ œ œ ‰ ‰ j j ‰ œ j ‰ œ œ ‰ ‰ j j j j j . & . œ œ ‰ J J œ œ ‰ J œ ‰ J J œ œ ‰ œ ‰‰ œ œ œ ‰ . 9 œ œ œ œ œ œ œ œ œ ? . œ œ œ J œ œ œ œ J J œ J J . bbb . ‰ J ‰ ‰J J ‰ ‰ ‰ ‰ ‰ . œ ? b . ‰ j œ ‰ œ œ ‰ j œ œ J ‰ ‰ œ œ ‰ j œ œ j ‰ . b b œ œ J œ œ œ J œ œ œ œ œ œ œ œ œ

140 2

17 Variation 1 b . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . & b b . J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ . p j j œ j j bbb . ‰ œ ‰ œ œ œ œ œ œ ‰ ‰ œ ‰ œ œ ‰ œ œ œ œ ‰ . & œ œ œ œ œ J œ œ œ J œ J p j œ. œ Ÿ œ. œ œ œ œ œ œ œ œ. œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b .  R œ  œ J ‰  R œ  œ œ ‰ . & . J J R J J R J . p

& b . œ œ œ œ œ œ œ j‰ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 17 œ œ œ œ œ œ œ œ pœ œ . œ ‰ œ œ œ œ œ œ œ œ œ œ ‰ œ œ ‰ œ œ œ ‰ . & . J J ‰ J œ œ J J . p . œ œ ‰ œ œ œ j ‰ œ œ ‰ ‰ j j‰ . & . J œ œ œ œ œ œ J œ œ œ œ œ . 17 p œ œ œ œ œ ? . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J . bbb . J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ ‰ . p œ ? b . œ ‰ œ œ j ‰ œ œ j ‰ œ ‰ œ œ j ‰ œ ‰ œ j‰ . b b J œ œ œ œ œ œ œ œ J œ œ œ J œ œ œ p

25 b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b b . J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ .

j j bb . ‰ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ ‰ j ‰ œ œ œ œ ‰ . & b . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J . rK œ . . . œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b . œ. œ J  R  R  R J ‰  R œ  œ œ ‰ . & . J J R J .

& b . œ œ œ œ œ œ j‰ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 25 œ œ œ œ œ œ . ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . & . J ‰ J ‰ J ‰ J ‰ .

. œ ‰ œ œ j œ œ ‰ œ j . & . ˙ œ œ J œ œ ‰ J œ œ œ œ œ œ œ ‰ . 25 œ œ œ ? . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J . bbb . J ‰ J ‰ J ‰J ‰ J ‰J ‰ J ‰ J ‰ J ‰ ‰ .

? b . j ‰ j ‰ j ‰ œ ‰ j ‰ j ‰ j ‰ œ œ j ‰ j ‰ œ j‰ . b b œ œ œ œ œ œ œ J œ œ œ œ œ œ œ œ œ œ œ

141 3

33 Variation 2 b & b b .      

b & b b .      

j j j j b . ‰ œ ‰ j œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ j & [ œ] œ œ J œ œ œ p j j j j & b . ‰ œ ‰ j œ ‰ œ ‰ œ j‰ œ ‰ œ ‰ j œ œ œ œ œ œ 33 p . œ ‰ œ œ œ œ ‰ œ œ œ œ ‰ œ œ œ & . J ‰ J J J ‰ ‰ J J ‰ J ‰ J p . ‰ j ‰ j j ‰ j ‰ ‰ œ j‰ ‰ j ‰ j & . œ œ œ œ œ œ J œ œ œ œ œ 33 p œ œ œ œ œ œ œ œ œ œ œ . . . . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? b . œ œ œœ œ œn œb œœ. œ# œœ œ œœ œœ œn œ œœ œ œn œb œ œ r œ œ œœ œ œn œb œ œ. œ b b . œ œœ œœ J œ œ œ œ ? b . œ ‰ œ ‰ j œ ‰ œ ‰ œ œ ‰ œ ‰ j b b J œ J J œ œ J œ p

39 b & b b   . .    

b & b b   . .    

j‰ . . j ‰ j œ j & b œ œ œ œ œ œ . . œ ‰ œ œ œ œ œ œ œ œ ‰

& b j‰ . . ‰ j ‰ j ‰ j j‰ œ œ œ œ œ œ œ œ œ œ œ œ œ 39 œ œ œ œ œ . . œ œ œ œ œ œ & J ‰‰ J J ‰ . . ‰ J ‰ J  ‰ J J ‰

œ ‰‰ j j . . j œ ‰ œ  ‰ œ j & J œ œ œ ‰ . . œ ‰ œ J J œ ‰ 39 rK œ œ rK œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ# œ œ œn œn œ œ œb œ œ Ÿœ ? b œ œ œ œ œœ œ œ œ ‰ . . œœ œœ œ œ œœ œ œ œn œb œ œ œ œ œ œ b b J J . . œ œ œ ® J ‰ œ ? b œ œ j‰ . . ‰ j œ ‰ œ œ œ b b œ œ œ œ œ œ œ J ˙ œ

142 4

Variation 3 45 3 3 œ œ œ œ œ œn œb b . . œ œ œ œ œ œ & b b     . . 3 œ œ œ œ 3 3 J  Solo œ œ œ 3 R b & b b     . .  

j œ œ ‰ j j‰ . . œ J ‰ œ J ‰ & b œ œ œ ‰ œ œ œ œ œ œ œ . . ‰ J ‰ J p j j j j & b ‰ œ ‰ j œ j‰ . . œ ‰‰ œ œ ‰ œ œ œ œ œ œ œ œ œ 45 p œ ‰ œ œ œ œ ‰‰ œ œ œ ‰ . . œ ‰ œ œ œ & J ‰ J J J J . . J ‰ J p ‰ j ‰ j œ ‰‰ j j‰ . . ‰ j ‰ j & œ œ œ œ J œ œ œ . . œ œ œ œ 45 j p œ œ œ r œ œ œ œ œ œ œn œb œ œ œ œ œ œ œ œ œ œ ? b œ œ œ œ œ œ œ  œ œ œ œ œ œ œ œ ‰ . . ‰ J ‰J b b œ œ œ œ œ J p ? b œ ‰ œ ‰ j œ œ j‰ . . œ ‰ œ ‰ j b b J œ œ œ œ œ œ œ J œ œ p

51 3 3 3 3 . œ œ œ œ œ œ b œ œ œ. œn œ œ œ œ œ œ œ œ œ œ œ œ œn œb œ. œ & b b 3 œn œ œ 3 œ œ œ 3 3 J ‰ 3 œ œ œ œ 3 3 . . œ œ œ 3

b & b b     œ œ œ œ œ J œ J œ J œ J & b ‰ J ‰ ‰ J ‰ ‰ J ‰ ‰ J ‰

j j & b œ œ œ œ œ œ œ œ œ œ ‰ œ œ ‰ œ 51 œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ œ ‰ œ & J J J J J J

j j œ ‰ j j j & œ ‰ œ ‰ J œ ‰ œ ‰ œ œ ‰ œ 51 œ œ œ œ œ œ œ œ œ ? œ œ œ œ J J bbb ‰ ‰ œ œ ? b œ ‰ œ ‰ œ œ J ‰ œ ‰ œ ‰J b b J J J œ

143 5

55 œ œ œ . . œ œ. . . œ. œ œ œn œ. œ œb œ. œ . . b œ œ œ œ œ œ œ œ œ œ œ œ œ j . . œn œ œ œ# œ œ œ œ œn œ œ œ œ. œ# œ œ œ œ œ œb œ & b b 3 3 3 3 3 œ œ ‰ . . 3 3 3 3 3 3 3 3 3 3 3 œ

b & b b   . .    œ œ œ œ œ œ . . œ J ‰ œ J ‰ & b ‰ J Œ . . ‰ J ‰ J  r œ Œ . . j  j j ‰ & b œ œ œ œ . . œ œ œ œ œ œ œ œ œ ‰ œ 55 œ œ œ . . œ œ œ œ œ œ œ œ œ & J ‰‰ J Œ . . J ‰ J ‰ J ‰

œ ‰‰ j Œ . . œ œ j ‰ œ œ j ‰ œ ‰ & J œ œ . . œ œ œ œ J 55 œ œ ? œ œ . . ˙ œ œ œ bbb Œ . . Œ J ‰J ‰ œ ? b œ œ œ œ Œ . . œ ‰ œ œ ‰ œ ‰ b b . . ˙ J J J

60 3 œ œ œ œ 3 œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œn œb œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b 3 3 œ œ 3 œ œ 3 3 3 3 3 3 œ j ‰ . & b œ œ 3 3 œ . 6 œ œ œ 3 œ

b & b b      . œ œ œ œ œ J œ J œ J œ œ œ . & b ‰ J ‰ ‰ J ‰ ‰ J ‰ ‰ J Œ .

j ‰‰ j j œ œ Œ . & b œ Œ œ œ œ ‰ œ œ œ œ . 60 œ Œ œ œ œ ‰ œ œ œ œ . & ‰ J J J ‰‰ J Œ .

j j œ ‰‰ j . & œ Œ œ ‰ œ œ ‰ œ J œ œ Œ . 60 œ œ œ œ œ ? œ œ J J J œ œ . bbb Œ J ‰‰ ‰ ‰ Œ . œ œ œ ? b Œ œ ‰‰ œ œ œ œ œ Œ . b b J J œ ‰J .

144 6

65 Variation 4 b & b b .      

b & b b .       œ œ œ œ œ œ œ.œ œœ œœœ œœœ œ# œœœœœ œ œn œb œ œ œ œœœ œ œœœ œœœ b . œœœœœ œœ œ œ J  r œœœœœ œ œ œœœœ & œœœœœ œœœ œ œœœœœ œ œ œ œ œ œ œ œ œ œ j j b . ‰ ‰ j j ‰ œ ‰ j ‰ ‰ ‰ j & . œ œ œ œ œ J œ œ œ œ œ œ 65 p œ & . ˙ ˙ J ‰Œ  ˙ ˙ p . œ ‰Œ  & . ˙ ˙ J ˙ ˙ 65 p œ œ œ œ œ œ œ œ œ œ œ ? . œ J J J J J J J bbb . ‰ ‰ ‰ ‰ ‰ ‰ ‰ p œ œ ? b . œ ‰ œ ‰ j œ ‰ œ ‰ œ œ ‰ œ ‰ j b b J œ œ J J œ œ J œ p

71 b & b b   . .   

b & b b   . .   

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ . . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b œ J . . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ j & b œ œ œ œ œ œ ‰ . . ˙ ˙ ˙ 71 œ œ œ œ œ œ . . œ œ œ œ œ œ œ œ & J ‰ . . J ‰ J ‰ J ‰ J ‰

œ œ œ j . . j j œ ‰ œ ‰ œ œ œ œ & œ œ œ ‰ . . œ ‰ œ ‰ J J 71 œ œ œ œ œ œ œ ? œ J . . J J œ œ œ œ bbb ‰ . . ‰ ‰ J ‰J ‰ J ‰J ‰

œ œ ? b œ œ j‰ . . j ‰ j ‰ œ ‰ œ ‰ œ ‰ œ ‰ b b œ œ œ œ œ J J J J

145 7

76 b & b b      .

b & b b      .

rK œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ J  œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœ j ‰ . & œ œ œ R œ œ œ œœ œ œ j j j b œ œ ‰ œ ‰ œ œ ‰ œ œ ‰ œ ‰ œ œ ‰ . & J J J 76 œ ˙ ˙ œ ‰ œ œ œ ‰ . & Œ J J ‰ J .

Œ œ ‰ j ‰ j ‰ . & œ ˙ ˙ J œ œ œ . 76 œ œ œ œ œ œ œ œ ? œ œ J J J J J . bbb J ‰ ‰ ‰ ‰ ‰ ‰ . œ œ œ œ ? b J ‰ œ ‰ œ ‰ j œ œ œ j ‰ . b b œ J œ œ œ œ

Variation 5 81 b & b b .    

b & b b .    

. . . . j & b . œ œ  œ œ œ œ œ œ œ œ œ œ œ œ ‰ p . j r & b . œ œ  œ œ œ œ œ œ œ œ œ . . . . œ œ œ œ œ œ 81 p œ œ œ œ. œ. œ. œ. œ & . J  R   p r . j    & œ œ œ œ. œ. œ. œ. œ 81 p j œ ? bb . œ ‰ œ œ ‰ œ ‰ j œ b J œ œ œ œ p rK rK rK rK œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? b .  œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ b b . Solo

146 8

85 b & b b     . .   

b & b b     . .   

œ . œ. œ. œ. ‰ j j‰ . . & b œ  œ œ œ œ œ œ œ . . œ. œ œ œ œ œ œ. œ œ œ œ œ œ

j r & b œ œ  œ œ œ œ œ œ ‰ j j‰ ...... œ œ œ ˙ ˙ ˙ 85 œ œ œ œ œ. œ. œ. œ. œ & J  R   . .   

r j   . .    & œ œ œ œ. œ. œ. œ. œ 85 ? b œ ‰ œ ‰ j œ ‰ j œ j‰ . . ‰ j ‰ œ b b J œ œ œ œ œ œ œ œ J ˙ rK rK rK rK . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ. œ œ œ œ œ œ œ. œ œ œ. œ . ? b J  œ œ œ œ œ œ œ œ œ œ œ œ ‰ . . œ. œ œ œ œ œ œ. œ œ œ b b R J . . 3 3 3 3

92 b & b b      .

b & b b      .

j j œ j œ  œ. œ. œ. œ. ‰ j ‰ . & b œ œ ‰ œ œ œ œ œ œ œ .

j r & b œ œ# œ  œ œ œ œ ‰ j j ‰ . œ œ œ œ œ . . . . œ œ œ œ 92 œ œ œ œ œ. œ. œ. œ. œ &  J  R   .

r  j    . & œ œ œ œ. œ. œ. œ. œ 92 ? b j ‰ œ ‰ œ ‰ j œ ‰ j œ j ‰ . b b œ œ œ J œ œ œ œ œ rK rK rK rK j œ œ œ œ œ œ œ œ œ œ . . œ. œn . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? b œ œ œ  œ œ œ œ œ œ œ œ œ œ œ œ ‰ . b b J .

147 9

Variation 6 97 Ÿ Ÿ Ÿ Ÿ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ & b b . Œ  Œ  ‰ J ‰ J ‰J Œ  Œ  ‰J ‰ J J ‰ . f

b Ÿ œ Ÿ œ œ œ Ÿ œ Ÿ œ b . Œ  œ œ œ Œ  œ œ œ ‰ ‰ œ ‰ œ Œ  œ œ œ Œ  œ œ œ ‰ œ ‰ j j ‰ . & b J J J J œ œ œ r r œ f œ œ œ œ œ. œ Ÿ Ÿœ œ œ. œ œ Ÿ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ  œ œ œ œ œ. ®œ œ œ œ œ & b . J  R J ‰ J ‰ . f œ œ œ œ œ œ œ œ œ œ  œ œ œ œ œ j & b . J  R œ œ œ œ J ‰ œ œ œ œ ‰ . 97 f œ œ . œ ‰ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ ‰ . & . J J ‰ J J . f . œ œ ‰ œ œ œ j ‰ œ œ ‰ œ œ œ j ‰ . & . J œ œ œ œ œ œ J œ œ œ œ œ . 97 f œ œ œ œ œ œ œ œ œ œ œ ? b . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ r‰ . b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ f œ œ ? b . œ ‰ œ ‰ j œ ‰ j ‰ œ œ œ ‰‰ œ ‰ j œ œ œ j ‰ . b b J œ œ J œ J J œ œ œ œ œ f

105 Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ & b b .   ‰J J ‰    œ Œ  Œ  ‰J ‰ J J ‰ .

b Ÿ œ Ÿ œ Ÿ œ Ÿ œ Ÿ Ÿ œ Ÿ œ b b .  œ œ œ  œ œ œ ‰ œ œ ‰  œ œ œ  œ œ œ  œ œ œ Œ  œ œ œ Œ  œ œ œ ‰ œ ‰ j j‰ . & J J J œ œ œ j r œ. œ œ œ Ÿ œ. œ œ œ œ œ Ÿ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ  œ œ œ œ œ. ®œ œ œ œ œ & b . J ‰ .

j r œ œ Ÿ œ œ. œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ j & b .  œ œ œ œ ‰ .

105 œ œ œ . œ œ œ œ œ œ œ œ j ‰ œ ‰ œ œ œ œ œ œ ‰ . & . ‰ J J ‰‰ J œ J J .

j j j œ œ & . ‰ œ ‰‰ ‰ œ ‰ œ œ j‰ . œ œ œ œ œ œ œ j J œ œ œ œ œ 105 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ ? bb . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œ j‰ . b œ œ œ œ j j j œ œ j œ œ ? bb . œ ‰ œ œ ‰ œ œ ‰‰ œ œ œ ‰ œ œ ‰ œ œ œ œ œ j‰ . b J J œ

148 Menuetto b œ œ œ œ œ Ÿ œ & b b 43     ŒŒ Œ œ ŒŒ . f b œ & b b 43     œ œ œ ŒŒ Œ œ œ œ Œ Œ . f œ œ œ œ. Ÿ œ œ œ œ œ œ. œ. œ œ œ œ œ œ œ œ œ œ & b 43 J œ œ ŒŒ œ œ ŒŒ . p f & b 43 œ. j ŒŒ œ œ œ œ ŒŒ œ œ œ œ ŒŒ . œ œ œ œ œ œ. œ œ œ œ p f œ œ & 43     œ œ œ ŒŒ Œ œ œ ŒŒ . f 3 œ . & 4     ŒŒ Œ œ œ ŒŒ . œ œ œ œ f . . œ œ ? bb 43 œ œ œ œ œ œ œ œ œ œ œ ŒŒ œ œ œ œ ŒŒ œ. œ œ œ . b J œ p f . . œ œ ? bb 43 œ œ œ œ œ œ œ œ œ œ œ ŒŒ œ œ œ œ ŒŒ œ. œ œ œ . b J œ p f

9 b œ œ œ œ œn œ œ œ œ œn ˙ & b b . œ Œ     p b & b b .         œn œ œ œ œ œ œ œ œ œ œ. œ . œ & b . ˙. ˙. ˙. œ Œ J œ ˙ œ# p  b . ŒŒ œ œ œ œ ŒŒ & ˙. ˙. ˙. œ ˙ œ ˙. 9 p & .        

& .        

9 œ œ œ œ œ œ œ œ œ œ# ˙ œ œ œ œ œ œ œ œ œ œ œ ? . œ œ œ. J œn . ˙ bbb . Œ p ? . œ ˙ œ bbb .     œ œ œ œ Œ ˙ Œ p

149 2

17 b & b b œ œ œ œ ŒŒ œ œ œ œ ŒŒ      b & b b   œ œ œ œ Œ Œ    

j œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ. œ œ & b œ œ œ œ J œ œ ŒŒ p b œ œ ŒŒ . j ŒŒ & œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ 17  p & œ œ œ œ ŒŒ œ œ œ œ ŒŒ      & ŒŒ ŒŒ     œ œ œ œ œ œ œ œ 17  . . ? b œ œ œ ˙ œ œ œ ˙ œ œ œ œ œ. œ. œ œ b b œ J œ œ ŒŒ  p . . ? b œ œ œ ˙ œ œ œ ˙ œ œ œ œ œ. œ. œ œ b b œ J œ œ ŒŒ  p

25 b œ œ œ œ œ Ÿ œ & b b ŒŒ Œ œ ŒŒ . f b œ & b b œ œ œ ŒŒ Œ œ œ œ Œ Œ . f œ œ œ œ. Ÿ œ œ œ œ œ œ œ œ & b œ œ ŒŒ . f & b œ œ œ œ ŒŒ œ œ œ œ ŒŒ . 25 f œ œ & œ œ œ ŒŒ Œ œ œ ŒŒ . f ŒŒ Œ œ ŒŒ . & œ œ œ 25 œ œ œ f œ ? b œ ŒŒ œ. œ œ . b b œ œ œ œ œ œ f œ ? b œ ŒŒ œ. œ œ . b b œ œ œ œ œ œ f

150 Trio 3 29 ˙ b . ˙. œ œ œ œ œ & b b .   œ œ œ p b ˙. ˙. œ œ œ & b b .   œ ŒŒ p & b . ˙. ˙. ˙. ˙. œ œ œ œ ŒŒ p . & b . ˙. ˙. ˙. ˙. œ œ œ œ ŒŒ 29 p ˙. ˙. ˙. . œ & . ˙ œ œ ˙ Œ p . ˙. ˙. ˙. œ & . ˙. œ œ ˙ Œ 29 p œ ? b . ‰ œ œ œ œ œ ‰ j œ œ œ œ œ œ œ ‰ j œ œ œ œ œ œ œ ŒŒ b b . J œ œ œ ‰ J œ œ œ œ p œ ? b . œ œ œ œ œ j œ œ œ œ œ œ j œ œ œ œ œ œ ŒŒ b b . ‰ J ‰ œ œ œ œ ‰ J ‰ œ œ œ œ œ p

35 ˙ Ÿ b . ˙. œ œ œ ˙ & b b   Œ . Ÿ b ˙. ˙. œ & b b   œ œ ˙ Œ .

& b ˙. ˙. ˙. ˙. œ œ œ ˙ Œ .

& b ˙. ˙. Œ . ˙. ˙. œ œ œ 35 ˙ ˙. ˙. ˙. . œ & ˙ œ œ ˙ Œ .

˙. . & ˙ ˙. ˙. œ œ Œ . œ ˙ 35 j j œ ? b ‰ œ œ œ œ œ ‰ œ œ ‰ œ œ œ œ œ ‰ œ œ œ œ œ . b b J œ œ œ J œ œ œ œ œ œ œ œ j œ œ j œ œ ? bb ‰ œ œ œ ‰ œ œ ‰ œ œ œ ‰ œ œ œ œ . b J œ œ œ J œ œ œ œ œ œ

151 4

41 b ˙. ˙. . ˙. œ. œ œ œ ˙ & b b . ˙ Œ p b œ & b b . ˙. ˙. ˙. ˙. œ œ ˙ Œ p . & b .   ˙. ˙. œ œ œ ˙ Œ p

& b .   Œ ˙. ˙. œ œ œ 41 p ˙ . ˙. œ & .   ˙ ˙ ˙ Œ p

& .   ˙. ˙. ˙ œ ˙ Œ

41 p ? . j j œ j œ œ j œ œ j œ œ œ œ œ œ œ bbb . ‰ œ œ œ œ œ ‰ œ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ œ p ? . j j œ j œ œ j œ œ j œ œ œ œ œ œ œ bbb . ‰ œ œ œ œ œ ‰ œ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ œ p

47 ˙ Ÿ b . ˙. ˙. ˙. œ œ œ œ & b b ŒŒ . p f Ÿ b ˙. ˙. ˙. . œ & b b ˙ œ œ œ ŒŒ . p f

& b   ˙. ˙. œ œ œ œ ŒŒ . f . & b   ˙. ˙. œ œ œ œ ŒŒ . 47 f ˙. . œ &   ˙ œ œ œ ŒŒ . f   œ ŒŒ . & . œ œ ˙ ˙. œ 47 f œ œ œ ? b œ œ œ œ œ j œ œ œ œ œ j œ œ . b b ‰ J ‰ œ œ œ œ œ ‰ J ‰ œ œ œ œ œ ŒŒ . f ? œ œ j œ œ j œ œ bb ‰ œ œ œ ‰ œ œ œ œ œ ‰ œ œ œ ‰ œ œ œ œ œ œ œ œ œ . b J J œ f Menuetto da capo

152 Adagio

b 2 œ œ. œ œ œ œ. œ œ œ œ œ œ & b b 4   J ‰  J œ. J ‰ . p bbb 2   ˙ œ œ ‰ Œ‰ j œ œ j ‰ . & 4 J œ . œ œ œ œ œ œ œ p 3 2 œ. œ œ œ. œ j Ÿ j œ j & b 4 œ ® . œ œ  œ œ. œ œ. œ œ œ ‰ œ œœ œ œ œ œ œ œ œ œ œ ‰ . R œ œ œ. œ 3 œ p . r b 2 œ œ. œ œ ®œ œ. j  œ j ‰ j ‰ . & 4 œ œ œ œ. œ œ œ œ œ œ œ œ œ p œ œ œ œ œ œ 2  j ‰ œ œ ‰ œ œ œ œ ‰ . & 4  ˙ œ œ  œ. J J J . p 2 ‰ œ j . & 4   j  j j ‰ œ œ œ ‰ . ˙ œ œ œ. œ œ p œ œ œ œ œ ? b 2 œ j ‰ œ œ œ . œ J ‰ . b b 4   œ œ œ ‰ J œ J . p j œ ? b 2   œ œ ‰ ‰ œ œ œ. œ œ œ j ‰ . b b 4 œ œ J J œ œ œ œ p

9 j œ œ . b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b b . J ‰ J ‰   œ. J J ‰ .

p j œ œ œ. bb . œ œ œ œ œ œ ‰ œ œ ‰ œ œ ‰   œ. œ œ œ ‰ . & b . J J J J J . p j œ œ œ œ . r œ. rK b . œ œ. j ‰ œ œ œ œ œ œ œn œ œ. œ ®œ œ. œ  œ œ j ‰ . & . œ œ œ œ œ œ 3 œ œ œ œ œ œ œ œ œ. œ œ. œ œ œ . p j . b . œ œ j ‰ œ œ j ‰ œ œ. œ œ ®œ œ  œ rK ‰ . & œ œ œ œ. œ œ œ œ œ œ œ . œ œ œ j [ ] œ œ œ œ. œ œ œ œ 9 p œ. œ œ .   œ œ œ œ ‰   œ ‰ œ œ œ ‰ . & [ œ] J J J p œ j j & .   œ œ œ œ ‰   ‰ œ œ j ‰ . œ œ œ 9 œ p ? œ œ œ œ œ œ œ œn œ œ bb . Œ J ‰ J ‰   œ œ œ œ œ j ‰ . b [ ] œ p ? j j bb . œ Œ œ œ ‰ œ œ ‰   œ œ œ œ œ j ‰ . b [ ] œ œ œ œn œ p

153 Rondo Allegro œ œ œ œ œ œ. œ œ œ œ bb 6 ‰  Œ‰Œ œ œ œ œ ‰‰  Œ‰Œ œ œ œ œ œ œ œ œ ‰ . & b 8 J J J J . f f bbb 6 ‰  Œ‰Œ œ œ œ œ œ œ œ œ ‰ ‰   Œ‰ j‰ . & 8 J œ œ œ J œ. œ œ œ œ . r r œ r f œ r f œ œ œn œ œ œ œ œ œ œ œ œ. œ œ œn œ œ œ œ œ œ œ œ 6 J ‰ œ œ œ œ œ œ œ œ œ œ J ‰ œ œ œ œ œ œ œ œ j & b 8 ‰ J ‰ ‰ œ œ œ ‰ . p f p f r r œ . r r œ œ œ œ œ œ œ & b 86 œ œ œn œ œ ‰ œ œ œ œ ‰ œ œ œ œ œ œ œ ‰ œ œ œn œ œ ‰ œ œ œ œ ‰ œ œ œ j‰ . J œ œ œ œ œ œ œ œ œ œ p f p f 6   œ œ œ œ œ. œ ‰‰   œ. œ œ œ . & 8 ‰ J J J œ. J J ‰ . f f j j & 86 ‰   jœ œ œ. œ ‰‰   j j‰ . œ œ œ. œ œ œ f œ. fœ. œ œ œ œ ? 6 j œ œ œ bbb 8 ‰   œ œ œ œ œ œ œ œ œ œ ‰‰   J ‰ . f f ? b 6 ‰   œ œ œ œ œ œ œ œ œ j‰‰   œ œ œ œ ‰ . b b 8 œ œ œ œ œ œ œ J . f f

˙ ˙ ˙ ˙ œ œ œ b . . . . & b b . ‰     ! ! ‰ ‰ ‰Œ. p f bb . ‰     ˙. ˙. ˙. ˙. œ ‰ œ ‰ œ ‰ Œ. & b . ! ! . . . . p . . f . œ œ œ œ œ œ œ œ œ œ. œ# œ œ. œ œ œ œ œ œ œ œ œ. œ# œ œ. œ œ œ œ œ œ. œ œ œ œ œ œ. œ. œ. œ. œ. œ œ œ œ œ & b . J ! ! ! ! ‰Œ. p f . . . œ œ . œ . œ . œ . œ. œ œ. œ œ œ œ œ œ œ œ . & b . J œ œ œ œ œ. œ œ œ. œ# œ œ. œ œ œ œ œ. œ œ œ. œ# œ œ. œ œ œ œ œ. œ œ œ œ œ. ! ! ! ! ‰Œ p f œ. œ. œ. œ. œ. œ. œ & . ‰ ˙. ˙. ˙. ˙. ˙. ˙. ‰Œ. p f & . ‰ œ. œ. œ. œ. œ. œ. œ ‰Œ. ˙. ˙. ˙. ˙. ˙. ˙. f p ? . ˙. ˙. ˙. ˙. ˙. ˙. bbb . ‰ ˙!. ˙!. ˙!. œ ‰Œ. p f ? . ˙ ˙ œ œ bbb . ‰ ˙. . ˙. . œ ‰ ‰ œ ‰ ‰ ˙!. ˙!. ˙!. œ ‰Œ. p f

154 2

19 b œ. œ. œ. œ œ œ œ œ œ œ œ œ U n b & b b     J ‰‰   œ œ J ‰ . n nb f U bb     ˙. œ. œ ‰ ‰   j‰ . nnnbb & b J œ. œ œ œ œ œ œ œ r r r j . . œ œ f œ œ œ œ œ œ œn œ œ œ œ œ œ œ œ œ œ œ œ. œ ‰ œ œ œn œ œ œ œ œ œ œ œ œ U J ‰ œ œ œ œ œ ‰ œ œ œ œ œ œ œ j . & b ‰Œ‰ ‰Œ ‰ ‰ œ œ ‰ . n p f p f r r œ . r r U œ œ œ œ œ œ œ b  Œ‰Œ œ œ œn œ œ ‰ œ œ œ ‰ œ œ œ œ œ œ œ ‰ œ œ œn œ œ ‰ œ œ œ œ œ j‰ . n & J œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ 19 p f p f U #     œ. œ. œ. œ ‰‰   œ. œ. œ œ œ ‰ . & J [ ] J J f f U œ. j œ. j j . # &     œ. œ. œ ‰‰   œ. œ œ œ ‰ . 19 f f ˙ œ œ œ œ œ œ œ œ œ œ U ? b . œ œ œ œ . n b b b     ! J ‰‰   J ‰ . n nb f f U ? b œ œ œ œ œ œ j œ œ œ œ ‰ . n b b b     œ œ œ œ ‰‰   œ œ œ œ œ œ J . n nb f f

29 œ œ œ œ œ œ œ œ œ r œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bb . œ œ œ œ œ J J œ œ œ œ œ œ œ J J J ‰Œ . & . Dolce J J J J J J J .

b & b .        Ó .

. ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰Œ . & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ p & . ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰Œ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 29 p # & .        Ó .

# & .        Ó .

29 œ œ œ œ œ œ œ œ ? bb . ‰ ‰ œ# ‰ œ ‰ ‰ ‰ œ# ‰ œ ‰ ‰ ‰ œ# ‰ œ ‰ ‰ œ# ‰ ‰Œ . p ? b . œ ‰ œ ‰ œ# ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ# ‰ œ ‰ œ ‰ œ ‰ . b . œ ‰Œ . p

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œ œ œ œ œ œ œ œ œ# œ œ# œ œn œ œ œn œ œ œ œ œ œ œ œ œ œ œ œ b . œ œ œ œ œ œ œ œ œ œ œ œ œ J J J œ . n b & b . ‰ ‰Œ. ‰Œ. ‰Œ. ‰Œ J J J J ‰Œ. . n b b

b . œ œ . œ œ . œ . œ . . n b & b . ‰ œ# œ ‰Œ œ# œ ‰Œ œn œ œ ‰Œ œn œ œ ‰Œ     . n b b

œ œ œ œ œ œ œ œ œ œ œ œ œ . J ‰ œ œ J œ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰Œ. . b & J J J J J œ œ œ œ œ œ œ p . œ# œ œ# œ œ œ œ# œ œ œ œ œ œ . . & . J J ‰ œ œ J œ ‰‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰Œ . b J J J J J œ œ œ œ œ œ œ p # ˙. œ . n & . ‰ ‰Œ. ˙ œ ‰Œ.     . p # . ‰ . ˙. . . n & . ˙. œ ‰Œ œ ‰Œ     . p œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ ? b . J J J J J J J ‰ œ ‰ œ ‰ œ# ‰ œ ‰ œ ‰ œ# ‰ œ ‰Œ. . n b b [ ] n b b p œ œn œ œn œ œ œn œ ‰ œ œ œ œ œ œ œ œ œ œ œ ? b . J J J J J J J ‰ ‰ ‰ œ# ‰ œ ‰ ‰ œ ‰ ‰Œ. . n b b [ ] œ n b b p

45 ˙ œ œ œ œn ˙. b . œ œ œ œ œ œ œ œ œ œ œ œ œ œn œ œ œ ˙. œ œ œ œ œ œ & b b ! œ œ œ œ œ œ ‰Œ. ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ! ! f p f p f p f ˙. œ œ œ œ œ œ bb ! œ œ œ œ œ œ ‰Œ. ‰ ‰ ‰ ‰ œ œ ‰ œn ‰ ‰ ˙. ˙. œ œ œ œ œ œ & b œ œ œ œ œ œ œ œn ‰ œ œ œ œ ! ! f p f p . f p f ˙ œ. œ. œ ˙. œ œ œ b ! ! œ. œ. ‰Œ. ‰ œ œ œ ‰ œn ‰ ‰ œ œ œ œ# ˙. œ œ œ & ! ! ! œ ‰ œ œ œ œ ‰ ‰ œ ‰ ! ! f p f p f p f & b ˙. œ. œ!. ! ‰Œ. ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ! ˙!. œ œ œ œ œ œ ! ! œ. œ!. œ œ œ œ œn œ œ œ œ# ˙. 45 œ œ œ œ œ œ f p f p f p f œ. œ. œ . . œ. & ˙. œ ‰Œ. Œ‰ œ. œ ‰Œ.  œ ‰  ‰   ˙ œ f f f f œ. . ‰Œ. Œ‰ ‰Œ.  œ ‰  . ‰   ˙ . œ. & œ œ œ œ 45 ˙. œ œ. f f f f . ? ˙. œ œ œ œ œ œ œ œ œ œ œ œn œ œ œ œ œ œn œ ˙ ˙n . ˙. bbb ! œ œ œ œ œ œ œ ‰Œ. ‰ œ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ! ! ! f p f p f p f ˙. ? b ˙. œ œ œ œ œ œ œ œ œ œ œ œ œ œn œ œ œ œ œ œn œ b b ! œ œ œ œ œ œ ‰Œ. ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ! ˙n !. ˙!. f p f p f p f

156 4

57 œ œ œ ˙. bb œ œ œ œ ‰Œ. ˙. œ ‰Œ. ˙. œ ‰Œ.   ! œ ‰Œ. & b ! ! p p ˙. bb œ œ œ œ œ œ œ ‰Œ. ˙. œn ‰Œ. ˙n ! œ ‰Œ.   œ ‰Œ. & b ! . ! p p œ œ œ œ œ œ œ & b ‰Œ.     ˙. œ ‰Œ.   1 2 3 4 ! 5 6 7 8 p b ˙. œ & ! œ œ œ!. ˙!. ˙!. ˙!. ˙!. ˙!. ˙!. ˙!. ˙!. 57 p . œ. & œ œ ‰Œ.        

& œ. œ. œ ‰Œ.        

57 ˙. œ ? b ! b b ˙!. œ ‰Œ.     ‰Œ.   p ? bbb ˙!. œ ‰Œ.        

67 b ˙. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b b   ! ‰Œ. Œ‰ ‰Œ. Œ‰ ‰ f b ˙. œ œ œ œ œ œ œ œ œ œ œ œ & b b   ! œ ‰Œ. Œ‰ œ ‰Œ. Œ‰ œ ‰ œ œ œ œ œ œ œ œ œ f & b ˙. œ ‰Œ.  Œ ‰ œ œ œ œ ‰Œ. Œ ‰ œ œ œ œ ‰Œ. Œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ !9 10 11 12 13 14 15 16 17 18 f & b ! ! ! ! ! ! ! ! ! ! ˙. ˙. ˙. ˙. ˙. ˙. ˙. ˙. [ ˙]. ˙. 67 f &        Œ‰ œ. œ. œ. œ. œ. f &        Œ‰

67 œ. œ. œ. œ. œ. ˙. œ œ œ œ œ œ œ œ œ fœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? ! bbb ‰Œ.  Œ‰ ‰Œ. Œ‰ ‰Œ. Œ‰ f ? bbb        Œ‰ œ œ œ ˙!. ˙!. f

157 5

77 U œ U œ œ œ œ œ œ. œ œ œ œ bb ‰Œ.  Œ‰Œ œ œ œ œ J ‰‰  Œ‰Œ œ œ œ œ œ œ œ œ ‰‰ & b J J J U f f œ. U j bbb Œ.  Œ‰Œ œ œ œ œ œ œ œ œ ‰ ‰   Œ‰ œ ‰‰ & J œ œ œ J . œ œ œ œ r r œ r f œ r f U U œ œ œn œ œ œ œ œ œ œ œ œ œ œ œ œ. œ ‰ œ œ œn œ œ œ œ œ œ œ œ œ œ œ J ‰ œ œ œ œ œ ‰ œ œ œ œ œ œ œ & b œ ‰‰ ‰ ‰ ‰ œ œ ‰ p p f f p U U r r œ . r j œ œ œ œ œ œ œ b ‰‰ ‰ œ œ œn œ œ ‰ œ œ œ ‰ œ œ œ œ œ œ œ ‰ œ œ œn œ œ ‰ œ œ œ œ œ ‰ œ & œ J œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ 77 p f p f p U U . œ œ œ œ œ. œ œ. œ œ œ & œ ‰Œ   J J J ‰‰   œ. J J ‰‰ f f U U . j j œ. j & ‰Œ   œ œ œ œ œ ‰‰   j j ‰‰ œ œ. œ. œ œ œ 77 U f f œ œ. U œ. œ œ œ œ œ œ ? b œ œ œ œ œ œ j b b Œ.   œ œ œ œ ‰‰   J ‰‰ f f U U ? b . œ œ œ œ œ œ j ! œ. œ b b œ. Œ   œ œ œ œ ‰‰   œ!. œ. !J ‰‰ f f

86 ˙ ˙ ˙ ˙ œ œ œ b . . . . & b b     ! ! ‰ ‰ ‰Œ. p f bb     ˙. ˙. ˙. ˙. œ ‰ œ ‰ œ ‰ Œ. & b ! ! f . . . . p . . œ œ œ œ œ œ œ œ œ. œ# œ œ. œ œ œ œ œ œ œ œ œ. œ# œ œ. œ œ œ œ œ œ. œ œ œ œ œ œ. œ. œ. œ. œ. œ œ œ œ œ œ œ & b ! ! ! ! ‰Œ. f . . œ . œ . œ . œ . œ. œ œ. œ œ œ œ œ œ œ œ . & b œ œ œ œ œ. œ œ œ. œ# œ œ. œ œ œ œ œ. œ œ œ. œ# œ œ. œ œ œ œ œ. œ œ œ œ œ. ! ! ! ! ‰Œ 86 f . œ. . œ. . . & ˙. ˙. ˙. ˙. ˙. ˙. œ œ œ œ œ ‰Œ. p f & œ. œ. œ. œ. œ. œ. œ ‰Œ. 86 ˙. ˙. ˙. ˙. ˙. ˙. f p ? ˙. ˙. ˙. ˙. ˙. ˙. bbb ˙!. ˙!. ˙!. œ ‰Œ. p f ? bbb ˙. ˙. ˙. ˙. œ ‰ œ ‰ œ ‰ œ ‰ ˙!. ˙!. ˙!. œ ‰Œ. p f

158 6

96 b œ. œ. œ. œ œ œ œ œ œ œ œ œ U & b b     J ‰‰   œ œ J ‰ ‰ f f U bb     ˙. œ. œ ‰ ‰   j‰ ‰ & b J œ. œ œ œ œ œ œ œ r r r r f . . œ œ f œ œ œ œ œ œ œn œ œ œ œ œ œ œ œ œ œ œ œ. œ ‰ œ œ œn œ œ œ œ œ œ œ œ œ U J ‰ œ œ œ œ œ ‰ œ œ œ œ œ œ œ j & b ‰Œ. ‰Œ ‰ ‰ œ œ ‰ ‰ p f p f r r œ . r r U œ œ œ œ œ œ œ b  Œ‰Œ œ œ œn œ œ ‰ œ œ œ ‰ œ œ œ œ œ œ œ ‰ œ œ œn œ œ ‰ œ œ œ œ œ ! j‰ ‰ & J œ œ œ œ ‰ œ œ œ œ œ œ. œ 96 p f p f U œ. œ. œ. œ œ. œ. œ œ œ &     J ‰‰   J J ‰ ‰ f f U œ. j œ. j j &     œ. œ. œ ‰‰   œ. œ œ œ ‰ ‰ 96 f f ˙ œ œ œ œ œ œ œ œ œ U ? b . œ œ œ œ œ b b     ! J ‰‰   J ‰ ‰ f f U ? b œ œ œ œ œ œ j œ œ œ œ ‰ b b     œ œ œ œ ‰‰   œ œ œ œ œ œ J ‰ f f

106 b œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ & b b . J ‰ J ‰ J œ ‰ J ‰ J ‰ œ œ. Œ. . p b & b b .         .

& b . ‰ ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ œ ‰ ‰ ‰ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ p & b . ‰ ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ œ ‰ ‰ ‰ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 106 p & .         .

& .         .

106 œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ. ? J J J œn J J œn bbb . ‰ ‰ ‰ ‰ ‰ Œ. . p œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? b . œ ‰ œ ‰ ‰ . b b . ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ œ ‰ œ œ œ œ . p

159 7

114 b œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ & b b . œ J ‰ J ‰ J œ ‰ œ J J ‰ œ œ. .

b & b b .         .

& b . ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

b . ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ . & œ œ œ œ œ œ œ œ œ œ œ œ œ œ 114 œ œ œ œ œ œ œ œ œ œ ˙. ˙. ˙. œ ˙. ˙. œ. œ. & . ‰Œ. Œ‰ Œ. . p . . Œ‰ . . & . ˙. ˙. ˙. œ ‰Œ ˙. ˙. œ. œ. Œ . 114 p œn œ œ œ œ œ œ œ œ œ œ œ. œn œn œ œ œ œ œ œ œ œ œ œ œn œ ? b . J J J J J . b b . ‰ ‰ ‰ ‰ ‰ ‰Œ. .

? b . œ ‰ œ. ‰ ! ‰ ‰ œ ‰ œ ‰ œ. ‰ ! œ ‰ ! ‰ . b b . ! œ œ. œ œ œ ‰ ! œ œ. œ ‰ œ. œ .

122 ˙ b ˙. ˙. ˙. ˙. ˙. . ˙. ˙. œ & b b     ! ! ! ! ‰Œ. f f œ œ bbb     œ ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ ‰ ˙. ˙b . ˙. ˙b . œ ‰ Œ. & œ œ œ œ ! ! ! ! f . œ œ œ œ œ ˙ ˙. ˙. œ b ! ! ˙! ˙. ˙! ˙. œ ! ! ! ‰Œ. & ˙!. ˙!. ˙. ˙. . ! . ! p f b ! !. ! !. ! ! ! !. ‰Œ. & ˙!. ˙!. ˙!. ˙!. ˙. ˙ ˙. ˙ ˙. ˙. ˙. ˙ œ 122 p f . . . &     ˙. ˙ ˙. ˙ ˙. ˙. œ ‰Œ. ˙ œ ‰Œ. f     ˙. ˙. ˙. ˙. ˙. ‰Œ. ˙. ‰Œ. & ˙. œ œ 122 f ˙. ˙. ˙. ˙. ˙. ? b ! ! ! ! ˙. ˙. ˙. b b ˙. ˙. ˙. ˙. ! ! ! ! ! ! ! ! œ ‰ Œ. p f ? b ! ! ! ! ! ˙. ˙. ˙. b b     ˙. ˙. ˙. ˙. ˙. ! ! ! œ ‰ Œ. f

160 8

135 U b œ. œ œ. œ œ. œ. œ. œ. œ. œ U & b b Œ‰ ‰Œ. Œ‰ ‰Œ. Œ‰ ‰Œ. p b œ. œ. œ. . œ. . œ. U U & b b Œ‰ œ ‰Œ. Œ‰ œ ‰Œ. Œ‰ œ œ œ ‰Œ. p œ. œ. œ. œ. œ. Uœ œ œ. œ œ. œ U & b Œ‰ ‰Œ. Œ‰ ‰Œ. Œ‰ ‰‰ ‰ J p p U U œ. œ ‰Œ. œ. œ ‰Œ. œ. œ. œ. œ. œ. œ œ & b Œ‰ Œ‰ Œ‰ ‰‰ ‰ J 135 p p œ. œ. œ. . œ. . œ. U U & Œ‰ œ ‰Œ. Œ‰ œ ‰Œ. Œ‰ œ œ œ ‰Œ. p U U & Œ‰ œ. œ ‰Œ. Œ‰ œ. œ ‰Œ. Œ‰ œ. œ. œ. œ. œ. œ ‰Œ. 135 p œ U U ? b Œ‰ œ. ‰Œ. Œ‰ ‰Œ. Œ‰ . . ‰Œ. b b œ. œ œ. œ œ. œ œ. œ p œ U U ? b Œ‰ œ. ‰Œ. Œ‰ ‰Œ. Œ‰ . . . Œ. b b œ. œ œ. œ œ. œ œ. œ p

143 œ œ œ œ œ œ. œ œ œ œ bb  Œ‰Œ œ œ œ œ ‰‰  Œ‰Œ œ œ œ œ œ œ œ œ ‰‰ & b J J J J f f bbb  Œ‰Œ œ œ œ œ œ œ œ œ ‰ ‰   Œ‰ j ‰‰ & J œ œ œ J œ. œ œ œ œ r r œ r f œ r f œ œn œ œ œ œ œ œ œ œ œ. œ œ œn œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ J ‰ œ œ œ œ œ œ œ œ & b ‰ J ‰ ‰ œ œ œ ‰ f p f r r p œ r œ œ œ. œ j b œ œn œ œ ‰ œ œ œ œ ‰ œ œ œ œ œ œ œ œ ‰ œ œ œn œ œ ‰ œ œ œ œ œ œ ‰ œ & œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ 143 f p f p   œ œ œ œ œ. œ ‰‰   œ. œ œ œ & J J J œ. J ‰ f f   j j œ. j ‰‰   j ‰ & œ œ œ œ œ œ. œ œ œ 143 f œ. fœ. œ œ œ œ ? j œ œ œ bbb   œ œ œ œ œ œ œ œ œ œ ‰‰   J ‰‰ f ? b   œ œ œ œ œ œ œ œ œ j   œ œ œ œ ‰‰ b b œ ‰‰ œ œ œ œ œ œ J f f

161 9

151 ˙ ˙ ˙ ˙ œ œ œ b . . . . & b b     ! ! ‰ ‰ ‰Œ. p f bb     ˙. ˙. ˙. ˙. œ ‰ œ ‰ œ ‰ Œ. & b ! ! . . . . p . . f œ œ œ œ œ œ œ œ œ. œ# œ œ. œ œ œ œ œ œ œ œ œ. œ# œ œ. œ œ œ œ œ œ. œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b ‰Œ. f œ . œ . œ . œ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . & b œ œ œ œ œ. œ œ œ. œ# œ œ. œ œ œ œ œ. œ œ œ. œ# œ œ. œ œ œ œ œ. œ œ œ œ œ. ‰Œ 151 f . œ. . œ. . . & ˙. ˙. ˙. ˙. ˙. ˙. œ œ œ œ œ ‰Œ. p f & œ. œ. œ. œ. œ. œ. œ ‰Œ. 151 ˙. ˙. ˙. ˙. ˙. ˙. f p˙ ˙ ˙ ˙ ˙ ˙ ? b ...... b b ˙!. ˙!. ˙!. œ ‰Œ. p f ? ˙ ˙ œ œ bbb ˙. . ˙. . œ ‰ ‰ œ ‰ ‰ ˙!. ˙!. ˙!. œ ‰Œ. p f

161 b œ. œ. œ. œ œ œ œ œ œ œ œ œ & b b     J ‰‰   œ œ J ‰ f f bb     ˙. œ. œ ‰ ‰   j‰ & b J œ. œ œ œ œ œ œ œ r r œ r f œ j f œ. œ. œ œ œn œ œ œ œ œ œ œ œ œ. ‰ œ œ œn œ œ œ œ œ œ œ œ J ‰ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ j & b ‰Œ. ‰Œ ‰ ‰ œ œ œ ‰ p f p f r r œ r œ œ œ. œ r b  Œ‰Œ œ. œ œn œ œ ‰ œ œ œ œ ‰ œ œ œ œ œ œ œ œ ‰ œ œ œn œ œ ‰ œ œ œ œ œ œ j‰ & J œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ 161 p f p f    œ. œ. œ. œ ‰‰   œ. œ. œ œ œ &  J J J ‰ f f œ. j œ. j j &     œ. œ. œ ‰‰   œ. œ œ œ ‰ 161 f f ? ˙. œ œ œ œ œ œ œ œ œ œ œ œ œ œ bbb     ! J ‰‰   J J J J ‰ f f ? b     œ œ œ œ œ œ œ œ œ j   œ œ œ œ ‰ b b œ ‰‰ œ œ œ œ œ œ J f f

162 10

b b & b b . ‰ nb        Œ. Œ .

b b & b b . ‰ nb        Ó .

œ b . ‰ n ‰ ‰ ‰Œ. ‰ ‰ œ ‰ Œ j œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ j ‰ . & œ œ œ œ œ œ œ J œ œ œ p b . ‰ n ‰ ‰ ‰Œ. ‰ ‰ ‰Œ. ‰ ‰ ‰Œ. ‰Œ . & œ œ œ œ œ œ œ œ œ œ. œ. œ p # & . ‰        Ó .

# & . ‰        Ó . Solo œ œ œ œ œ œ œ œ œ œ. œ œ œ. œ œ œ œ œ œ ? b . œ b œ œ œ œ œ œ. œ œ . b b . J nb J ‰ ‰ ‰ ‰Œ. ‰ ‰ ‰Œ .

œ œ œ ? b . ‰ b ‰ ‰ ‰ ‰ ‰ ‰ ‰Œ. ‰ ‰ ‰Œ. ‰ œ ‰ ‰Œ . b b nb œ œ œ œ œ œ œ œ œ p

œ œ b œ œ œ œ œ œ œ œ œ œ œ œ . œ œ œ œ œ œ œ œ œ œ œ & b . J œ œ œ œ œ œ œ œ œ œ J œ œ œ œ œ œ œ œ ‰ Œ .

b & b . ‰        Ó .

& . ‰        Œ. Œ .

. ‰ . ‰Œ. ‰ ‰ ‰ ‰ . ‰Œ. ‰ ‰ j ‰ . & ˙ œ œ œ œ œ ˙ œ œ œ œ œ œ œ # & . ‰        Ó .

# & . ‰        Ó . œ œ œ œ œ œ œ œ . œ œ œ œ œ œ œ ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bb . J J ‰Œ .

? b . ‰ ˙. ‰Œ. ‰ ‰ ‰ œ ‰ ‰Œ. ‰ ‰ ‰Œ . b œ œ œ œ ˙. œ œ œ œ

163 11

œ œ œ œ œ œ. œ œ œ œ bb ‰ bb  Œ‰Œ œ œ œ œ J ‰‰  Œ‰Œ œ œ œ œ œ œ œ œ ‰‰ & b J J J f f j bb ‰ bbb  Œ‰Œ œ œ œ œ œ œ œ œ ‰ ‰   Œ‰ œ ‰‰ & J œ œ œ J . œ œ œ œ r r œ r f œ r f œ œ œn œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œn œ œ œ œ œ œ œ œ œ œ œ J ‰ œ œ œ œ œ . J ‰ œ œ œ œ œ œ œ & b ‰ ! J ‰ ‰ œ œ ‰ p p f f p r r œ . r r œ œ œ œ œ œ œ œ b œ œn œ œ ‰ œ œ œ ‰ œ œ œ œ œ. ‰ œ œ œn œ œ ‰ œ œ œ œ œ ‰ œ & J œ œ ! œ œ ‰ œ œ œ œ œ œ œ œ œ p f p f p # n œ œ œ œ œ. œ œ. œ œ œ & ‰   J J ‰   œ. J J ‰‰ f f # ‰ n j j œ. &   œ œ œ œ œ ‰   j j ‰‰ œ. œ. œ œ œ f f œ. œ œ œ œ œ œ œ ? b b œ œ œ œ œ œ j b ‰ b b   œ œ œ œ ‰‰   J ‰‰ f ? b ‰ b œ œ œ œ œ œ j œ œ œ œ ‰‰ b b b   œ œ œ œ ‰‰   œ œ œ œ œ œ J f f

195 ˙ ˙ ˙ ˙ œ œ œ b . . . . & b b     ! ! ‰ ‰ ‰Œ. p f bb     ˙. ˙. ˙. ˙. œ ‰ œ ‰ œ ‰ Œ. & b ! ! . . . . p . . f œ œ œ œ œ œ œ œ œ. œ# œ œ. œ œ œ œ œ œ œ œ œ. œ# œ œ. œ œ œ œ œ œ. œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b ‰Œ. f œ . œ . œ . œ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . & b œ œ œ œ œ. œ œ œ. œ# œ œ. œ œ œ œ œ. œ œ œ. œ# œ œ. œ œ œ œ œ. œ œ œ œ œ. ‰Œ 195 f . œ. . œ. . . & ˙. ˙. ˙. ˙. ˙. ˙. œ œ œ œ œ ‰Œ. p f & œ. œ. œ. œ. œ. œ. œ ‰Œ. 195 ˙. ˙. ˙. ˙. ˙. ˙. f p ? ˙. ˙. ˙. ˙. ˙. ˙. bbb ˙!. ˙!. ˙!. œ ‰Œ. p f ? bbb ˙. ˙. ˙. ˙. œ ‰ œ ‰ œ ‰ œ ‰ ˙!. ˙!. ˙!. œ ‰Œ. p f

164 12

205 b œ. œ. œ. œ œ œ œ œ & b b     J ‰‰   œ œ f f bb     œ. œ. œ. œ ‰ ‰   & b J œ. œ œ œ r r r j f œ. . œ œ œ œ œ œ f œ . œ œ œ œ œ œn œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œn œ ‰ œ œ œ œ œ œ œ œ œ œ & b Œ. ‰Œ J ‰ œ ‰ œ œ p f p f r r œ . r r œ œ œ œ œ œ œ b  Œ‰Œ œ œ œn œ œ ‰ œ œ œ ‰ œ œ œ œ œ œ œ ‰ œ œ œn œ œ ‰ œ œ œ œ œ & J œ œ œ œ ‰ œ œ œ œ œ 205 p f p f œ. œ. œ œ. œ. &     œ. J ‰‰   f f œ. j œ. &     œ. œ. œ ‰‰   œ. 205 f f ˙ œ œ œ œ ? b . œ œ. . b b     ! J ‰‰   ! ! f ? b œ œ œ œ œ œ j b b     œ œ œ œ ‰‰   œ!. œ!. f

214 b œ & b b ‰Œ. œ. œn . œ ‰Œ. œ. œn . œ ‰ Œ.     p b . . . & b b œ ‰Œ ˙. œ ‰Œ ˙. œ ‰Œ     p j ˙. œ. œ œ œ œ œ. œ œ œ & b ‰Œ.     J J ‰Œ. 2 3 4 5 p 6 7 8 9

& b œ œ œ œ œ œ ˙!. ˙!. ˙!. ˙!. ˙!. ˙!. ˙!. ˙!. 214 p & œ ‰Œ.        ˙. p & ‰Œ.        œ 2 3 4 5 6 7 8 ˙. 9 214 œ œ œ œ œ œ ˙. ˙. ˙. ˙. ˙. ˙. ˙. p˙. ? ! ! ! ! ! ! ! ! bbb

p j ˙b . œ. œ œ ? b œ œ. œ œ œ b b œ ‰Œ.     J J ‰Œ. p

165 13

223 b œ œ œ œ & b b œ. œn . œ ‰Œ. œ. œn . œ ‰ Œ.    ‰Œ. ‰Œ. p f b & b b ˙. œ ‰Œ. ˙. œ ‰Œ.    œ ‰Œ. œ ‰ Œ. œ ‰ Œ. œ ‰ Œ. p j f ˙. œ. œ œ r r r œ r œ œ. œ œ œ œ œ œ œ œ œ & b     J J œ œ œ œn œ œ œ œ œn œ œ œ œ œn œ œ œ œ œn œ 10 11 12 13 14 15 16 p f . . . . & b ˙!. ˙!. ˙!. ˙!. ˙!. ˙!. ˙!. œ ‰Œ œ ‰Œ œ ‰Œ œ ‰Œ 223 f œ & ˙. ˙. ˙. ˙. ˙. ˙. ˙. œ ‰Œ. œ ‰Œ. ‰Œ. œ ‰Œ. f & ‰Œ. œ ‰Œ. œ ‰Œ. œ ‰Œ. ˙10. ˙. 11 ˙. 12 ˙. 13 ˙. 14 ˙. 15 ˙. 16 œ 223 f ˙. ˙. ˙. ˙. ˙. ˙. ˙. œ œ ? b ! ! ! ! ! ! ! œ œ b b ‰Œ. ‰Œ. ‰Œ. ‰Œ.

j f ˙b . œ. œ œ ? œ œ. œ œ œ œ œ bbb     J J ‰Œ. œ ‰Œ. ‰Œ. ‰Œ. p f

234 ˙ ˙ ˙ ˙ œ b . . . . & b b ‰Œ.     

b & b b ˙. ˙. ˙. ˙. œ ‰ Œ.      œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œb œ œ œ œ# œ œ œ œ œ & b œ œ œ œ œ œ œ œ

. œ œ œ œ œ œ ˙. ˙. & b ˙. ˙. ˙. ˙. œ ‰ œ ‰ œ ‰Œ œ œ œ œ œ œ ! ! 234 . . & ˙. ˙ ˙. ˙ œ ‰ œ ‰ ˙. œ ‰Œ.   

. . ‰ ‰ ‰Œ.    & ˙. ˙ ˙. ˙ œ œ ˙. œ 234 . . œn œ œ œ œ œ œ# œ œ ? ˙. ˙. ˙. ˙. œ œ œ ˙ ˙ œ œ œ bbb ‰ ‰ ‰Œ.

? ˙. ˙. ˙. ˙. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œn œ œ bbb ‰ ‰ ‰Œ. œn œ œ

166 14

244 œ œ œ œ œ œ œ œ œ œn b ˙. ˙. œ œ œ œ œ œ œ œ œ œ œ œ œ œn œ œ œ & b b ! ! ‰Œ. ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ f p f p f f p f p œ œ œ œ œ œ œ œ bb ˙. ˙. œ ‰ Œ. ‰ œ ‰ œ ‰ ‰ œ ‰ œ ‰ ‰ ‰ œ œ ‰ œn ‰ ‰ œ œ œ ‰ œn ‰ ‰ & b ! ! œ œ œ œ œ œ œ p f p f p f p f Ÿ œ f p ˙ œ ˙ . œ œ œ œ œ œ œ# & b . ‰Œ.  . œ ‰  . œ ‰ œ ‰ œ ‰ œ œ œ œ ‰ œn ‰ œ ‰ œ ‰ ‰ œ ‰ f f p f p f p b ˙. ˙. œ ‰Œ.  œ ‰  œ ‰ ‰ œ ‰ ‰ œ œ œ ‰ œn ‰ ‰ œ œ œ œ ‰ œ# ‰ œ ‰ & ! ! . œ œ œ œ œ 244 f f p f p f p ˙. . . œ. . œ. œ. œ. œ & ˙ œ ‰Œ. Œ‰ œ Œ‰ Œ‰ œ Œ‰  œ ‰  ‰  p f p f f f . ˙. . Œ‰ œ. Œ‰ œ. œ œ & ˙. œ ‰Œ Œ‰ œ. Œ‰ œ.  ‰  œ. œ ‰  244 ˙. p f p f f f ˙. œ œ œn ? b œ œ œ œ œ. œ œn œ . œ œ b b ‰Œ. Œ‰ œ. Œ‰ . Œ‰ œ. Œ‰ . ‰ ‰ ! ‰ ‰ ‰ ! ‰ ‰ ‰ p f p f p f p f p ? ˙. œ œ œ œ œ œ. œ œn œ œ. œ œn œ bbb ! ˙!. ‰Œ. Œ‰ œ. Œ‰ . Œ‰ œ. Œ‰ . ‰ ‰ ! ‰ ‰ ‰ ! ‰ ‰ ‰ p f p f p f p f

256 ˙...... b ˙# . ˙. ˙. œ œ œ. œ œ. œ. . œ. œ œ œ. œ œ. œ. . & b b ! ! ! ! ‰Œ. ‰ ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ ‰ ‰ ‰ ‰ œ f p b œ. . . . œ. . . b b ˙. ˙. ˙. ˙. œ ‰Œ. ‰ œ ‰ œ ‰ ‰ œ ‰ ‰ ‰ œ ‰ ‰ œ ‰ œ ‰ ‰ œ ‰ ‰ & ! ! ! ! œ. . œ. œ. œ. . œ. f p . ˙. . ˙# . ˙ œ . . & b ˙ ! ! ! ‰Œ. œ ‰ œ ‰ œ ‰ ‰ œ ‰ ‰ ‰ œ ‰ œ ‰ œ ‰ œ ‰ ‰ œ ‰ ‰ ! . . œ. . œ. œ. . . . œ. . œ. f p b ˙. ˙. ˙. ˙. . ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ & ! ! ! œ ‰Œ œ œ œ ‰ ‰ œ œ œ œ ‰ ! . . . œ œ œ . . . . œ œ 256 f p . . œ. . . . œ. ˙. . . œ. . . . œ. . &  ˙. ˙ œ ‰Œ. Œ‰ œ ‰ Œ‰ ‰ Œ‰ œ ‰ Œ‰ œ ‰ Œ‰ œ ‰ Œ‰ ‰ Œ‰ œ ‰ f p . . &  ˙. ˙. ‰Œ. Œ‰ œ ‰ Œ‰ œ ‰ Œ‰ œ ‰ Œ‰ ‰ Œ‰ œ ‰ Œ‰ œ ‰ Œ‰ œ ‰ [ ˙]. œ . . œ. . . 256 f p ˙. ? b ˙. œ œ. œ. œ. œ. œ. œ. œ. b b ! ˙n !. ! ˙!. ‰Œ‰ Œ‰ Œ‰ Œ‰ Œ‰ Œ‰ Œ‰ Œ‰ p ˙. ? bb ! ! !. !. œ ‰Œ. Œ‰ . Œ‰ œ. Œ‰ . Œ‰ Œ‰ . Œ‰ œ. Œ‰ . b ˙n . ˙ ˙ œ œ œ. œ œ p

167 15

268 . . . . . b œ. œ œ. œ œ. œ. . œ. œ œ œ. œ œ. œ. . œ. œ. . œ. œ. . & b b ‰Œ. ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ ‰ ‰ œ ‰Œ. ‰ œ ‰Œ. ‰ œ ‰  œ. . œ. œ. œ. . œ. bbb ‰Œ. ‰ œ ‰ ‰ ‰ œ ‰ ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ œ ‰ ‰ ‰Œ. œ ‰ ‰ ‰Œ. œ ‰ ‰ & œ. œ. . œ. œ. œ. . œ. œ. . œ. œ. . œ.  . . & b ‰Œ. œ ‰ œ ‰ œ ‰ ‰ œ ‰ ‰ ‰ œ ‰ œ ‰ œ ‰ œ ‰ ‰ œ ‰ ‰ ‰Œ. œ ‰ ‰ ‰Œ. œ ‰ ‰ œ. . . œ. . œ. œ. . . . œ. . œ. œ. . œ. œ. . œ.  & b ‰Œ. œ ‰ ‰ œ ‰ ‰ ‰ ‰ ‰ œ ‰ œ ‰ ‰ œ ‰ ‰ ‰ ‰ ‰Œ. ‰ ‰ ‰Œ. ‰ ‰ œ . œ. . œ œ œ . . œ. . œ œ œ œ œ œ 268 . . . œ . . . œ . . œ . . œ . .  . . . . œ. . . . œ...... & œ ‰Œ. Œ‰ œ ‰ Œ‰ ‰ Œ‰ œ ‰ Œ‰ œ ‰ Œ‰ œ ‰ Œ‰ ‰ Œ‰ œ ‰ œ ‰Œ. Œ‰ œ ‰ œ ‰Œ. Œ‰ œ ‰  . . & ‰Œ. Œ‰ œ ‰ Œ‰ œ ‰ Œ‰ œ ‰ Œ‰ ‰ Œ‰ œ ‰ Œ‰ œ ‰ Œ‰ œ ‰ ‰Œ. Œ‰ œ ‰ ‰Œ. Œ‰ œ ‰ œ. . . œ. . . œ. . œ. . 268  œ œ œ œ œ œ œ œ œ œ. œ. œ. ? b ...... b b ‰Œ. Œ‰ Œ‰ Œ‰ Œ‰ Œ‰ Œ‰ Œ‰ ‰Œ. Œ‰ ‰ ‰Œ. Œ‰ ‰  ? b ‰Œ. Œ‰ . Œ‰ œ. Œ‰ . Œ‰ Œ‰ . Œ‰ œ. Œ‰ . ‰Œ. Œ‰ ‰ ‰Œ. Œ‰ ‰ b b œ œ œ œ. œ œ œ œ. œ œ.  .

280 œ œ œ œn œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œn œ œ œn œ œ & b b œ œ œ œ œ œ f œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œn œ œ œ œ œ œn œ œ œn œ œ f . . œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œn . œ œ# œn . & b œ. œ. f . b œ. œ. œ. œ. œn . œ. œ# . œ œn . & œ. œ. œ. œ. œ. œ. œ. 280 f œ. œ. & œ. œ. œ. œ. œ. œ. œ ‰Œ‰    f ‰Œ. & œ. œ.    œ. œ. œ. œ. œ. œ. œ 280 f . ? œ œ œ œ œ œ œ. œ. œn . œ. œn . œ œn . bbb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. f . ? œ œ œ œ œ œ œ. œ. œn . œ. œn . œ œn . bbb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. f

168 16

288 ˙. ˙. œ œ œ b ! ! ˙. ˙. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b b ! ! ‰Œ. ‰Œ. œ ‰ Œ. œ œ œ œ œ œ

œ. bb œ œ œ œ œ œ ˙. ! ! ‰Œ. œ. ! ‰Œ‰ ! œ. œ ‰ Œ. œ œ œ œ œ œ œ œ œ & b ! ˙. ˙. œ ! œ. œ ! œ œ œ . . . ˙ ˙ ˙. ˙. œ œ œ. ˙. œ. œ. œ. œ. & b ‰Œ. ˙. œ. œ. 1 2 3 4 5 6 ˙. ˙. b ˙. ˙. œ ‰Œ. & ˙!. ˙!. ˙!. ˙!. ˙!. ˙!. 288 ˙. ˙. . . & ˙ ˙ ˙. ˙. ˙. ˙. ˙. ˙. ˙.

& ˙. ˙. ˙. ˙. ˙. 1 ˙. 2 ˙. 3 ˙. 4 ˙. 5 ˙. 6 ˙. 7 288 ˙ ˙ ˙ ˙ ? b . . . . ˙. ˙. ˙. ˙. ˙. ˙. ˙. b b ! ! ! ! ! ! ! ! ! ! ! 1 2 3 4 5 6 7 ˙. ˙. ? b ! ! !. !. b b ˙ ˙ ˙!. ˙!. ˙!. ˙!. ˙!. ˙!. ˙!.

299 b œ œ œ œ . œ . ˙ & b b œ œ œ œ œ œ œ ‰ œ œ œ œ ‰ œ œ œ œ ‰ ‰ ‰ ‰ ‰Œ ‰Œ ‰‰

b . . & b b œ œ œ œ œ œ œ ‰ œ œ œ œ ‰ œ œ œ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰Œ œ ‰Œ ˙ ‰ ‰

j j œ œ œ œ œ ˙ & b œ. œ. œ ‰ œ œ œ ‰ œ œ œ ‰ ‰ ‰ ‰ ‰Œ. ‰Œ. ‰‰ 7

b ‰ ‰ ‰ œ ‰ œ ‰ œ ‰ œ ‰Œ. œ ‰Œ. ˙ ‰‰ & ˙!. œ œ œ œ œ œ œ œ œ 299 ˙. œ œ œ œ œ œ œ œ œ œ œ . œ . ˙ & ‰ J ‰ J ‰ ‰ ‰ ‰ ‰Œ ‰Œ ‰‰

& ‰ j ‰ j ‰ ‰ ‰ ‰ ‰Œ. ‰Œ. ‰‰ ˙. 8 œ œ œ œ œ œ œ œ œ œ œ œ ˙ 299 ? ˙. œ œ œ œ œ œ œ œ œ bbb ! ‰ ‰ ‰ œ ‰ œ ‰ œ ‰ œ ‰Œ. œ ‰Œ. ˙ ‰‰ 8

? bb ‰ ‰ ‰ ‰ ‰ ‰ ‰Œ. ‰Œ. ‰‰ b ˙!. œ œ. œ œ. œ œ œ œ œ œ ˙

169

Appendix B: Editorial Remarks and Actions Used in the Construction of the Critical Edition

Movement I

Measure System Remarks Action

2-3 Bassoon I Material doubled from Horn I Editorial change: Omitted due to doubling, the presentation in the Recapitulation, and the setting in the 1597 and Imbault parts

2-3 Bassoon II Material doubled from Viola Editorial change: Omitted due to (SC) in wrong octave doubling, the presentation in the Recapitulation, and the setting in the 1597 and Imbault parts

2-3 Horn I Material not true to original Editorial change: Used material from concertante Mus. Ms. 1597, same as original line in Viola I

5 Clarinet I rf' marking Change to 'sf' to match other parts

7 Oboe I rf' marking Change to 'sf' to match other parts

9 Clarinet I Sixteenth note appoggiatura Change to to match the thirty-second to beat three not congruent note in other parts with Oboe I and Clarinet II

10 Clarinet I Sixteenth note appoggiatura Change to to match the thirty-second to beat three not congruent note in other parts with Oboe I and Clarinet II

12 Clarinet I Missing 'sf' marking Add for congruency with bassoon and other instances

12 Clarinet II Missing 'sf' marking Add for congruency with bassoon and other instances

170 14 Clarinet I Missing 'sf' marking Add for congruency with bassoon and other instances

14 Clarinet II Missing 'sf' marking Add for congruency with bassoon and other instances

19-23 Bassoon II Courtesy numbers for Editorial addition repeated measures

16 Horn II Missing crescendo over whole Add for match other parts measure

20 Oboe I Slur not congruent with Change to cover all of beat 1-2 Bassoon I eighth notes

22 Oboe I Slur not congruent with Change to cover last four eighth Bassoon I notes to match Bassoon I

27 Clarinet I Missing natural sign on lower Add natural marking B - period editorial practice?

29 Oboe I Slur not congruent with Change to cover last four eighth Bassoon I notes to match Bassoon I

33-35 Horn II Missing tie Add ties between pitches in these measures to match Horn I

37 Bassoon II Missing dynamic marking Add 'p' to match other parts

45 Oboe II Slur not congruent with Oboe Remove I and Clarinets

46 Oboe II Slur not congruent with Oboe Change to cover whole measure I & Clarinet I

46 Clarinet II Slur not congruent with Oboe Change to cover whole measure I & Clarinet I

50 Oboe II Cadential trill not in lead Remove melodic voice

51 Bassoon I Slur over beat 1 in six Remove measures of sixteenth note passagework

54 Oboe I No slur from half note to Add to match measure 52 downbeat of next measure

54 Oboe II No slur from half note to Add to match measure 52 downbeat of next measure

171 54 Clarinet I No tie from whole note to Add to match measure 52 downbeat of next measure

64 Bassoon I Missing beat 2 & 3 slurs not Add slur to match congruent with other instances of motive in passage

66 Clarinet I Missing 'f' dynamic marking Add 'f' to match other parts

68 Clarinet I Staccato marks under last Remove to match Clarinet II and three eighth notes other instances

71 Bassoon II Missing 'sf' marking Add for congruency with bassoon and other instances

72 Bassoon II Two half notes with slashes Changed to 8 eighth notes added with no dynamics dynamics to match other parts

76-80.1 Oboe I Clarinet I melody from m. 73- Transfer to Clarinet I to match 75 passed to Oboe I in these Imbault voicing and 1597 four measures

76-77 Clarinet I Voice change Editorial change - Eliminate doubling of Clarinet II material

78-80.1 Oboe I Voice change Editorial change - Transfer material from Clarinet I to Oboe I - congruent with voicing in 1597 and Imbault parts

85 Oboe I Missing staccato marks on Add to match other instances beat two eighth notes

85 Oboe II Missing staccato marks on Add to match other instances beat two eighth notes

88-91.2 Horn I Missing staccato marks on Add to match other parts eighth notes

88-91.2 Horn II Missing staccato marks on Add to match other parts eighth notes

88-91.2 Bassoon II Missing staccato marks on Add to match other parts eighth notes

89 Oboe I Slur not congruent with other Remove to match other parts voices and instances

91 Oboe I Missing staccato marks on Add to match other instances beat two eighth notes

172 91 Oboe II Missing staccato marks on Add to match other instances beat two eighth notes

91 Clarinet II Missing staccato marks on Add to match other instances beat two eighth notes

91 Bassoon I Missing staccato marks on Add to match other instances beat two eighth notes

92 Oboe II Missing staccato marks on Add to match Oboe I beat 2-3 eighth notes

93-94 Oboe II Missing staccato marks on Add to match Oboe I beat 1-3 eighth notes

97.4-99 Oboe I Staccato marks on all eighth Remove to match other parts notes, do not exist in other voices

101 Oboe I Awkward flow of musical line Add tie between first half note and in measure first note of last four eighth note grouping; add slur over whole measure

102 Oboe I Staccato on beat three quarter Remove for musicality note

104 Oboe I Staccato on beat three quarter Remove for musicality note

109 Clarinet I Missing 'p' dynamic marking Add to match other entrances of same material in other voices

117 Oboe I Inclusion of slur not clear Cover entire measure to match Clarinet I in 118

117 Oboe I No tie between half note to Add for musicality first of four eighth notes

118 Clarinet I No tie between half note to Add for musicality first of four eighth notes

119 Oboe I Inclusion of slur not clear Cover entire measure to match Clarinet I in 118

119 Oboe I No tie between half note to Add for musicality first of four eighth notes

120 Clarinet I No tie between half note to Add for musicality first of four eighth notes

173 121-126 Clarinet II Courtesy numbers for Editorial addition Bassoon II repeated measures

122 Oboe I Missing slur on beat 1 Add to match Oboe II

125 Oboe I Articulation not congruent Eliminate staccato on last eighth with Oboe II note, slur last three eighths

126 Oboe I Missing slur on last three Add to match Oboe II eighth notes

127 Oboe I Missing slur over first dotted Add to match Oboe II quarter/eighth note figure

128 Oboe I Missing slur over first dotted Add to match Oboe II quarter/eighth note figure

129 Oboe II Missing slur over measure Add to match Oboe I

133 Oboe II Missing dynamic marking Insert courtesy 'p' dynamic to match Bassoon I

134 Bassoon II Missing dynamic marking Insert courtesy 'sf' dynamic to match other parts

136 Bassoon II Missing dynamic marking Insert courtesy 'sf' dynamic to match other parts

140 Bassoon II Wrong note Remove B natural in staff, replace with rest

145 Bassoon I Slurs do not match with Slur whole measure to match Oboe II congruent voices; four quarters, slurs 2 +2

148 Oboe II Missing 'p' dynamic marking Add to match other parts

148 Horn I Note length does not match Change half note to quarter not to other voices match other voices

148 Horn II Note length does not match Change half note to quarter not to other voices match other voices

150 Clarinet II Missing 'p' dynamic marking Add to match other parts

161 Oboe II Missing 'sf' marking Add to match other parts

161 Bassoon I Missing 'sf' marking Add to match other parts

163 Oboe II Missing 'sf' marking Add to match other parts

174 163 Bassoon I Missing 'sf' marking Add to match other parts

164-170 All Melodic statements Changed to match presentation in rearranged in this presentation exposition. This is also congruent in 1571 as evidenced by with 1597 and the second edition displaced octaves of material Imbault parts (presented in the same in 164-170 in Oboe (should way in exposition and development) be octave lower)

168 Oboe I Missing staccato marks on Add to match rest of passage beat two eighth notes

170 Oboe I Missing staccato marks on Add to match rest of passage eighth notes

171-172 Oboe I Staccato marks on all eighth Remove to match other parts notes, do not exist in other voices

171 Oboe II 'p' dynamic marking - does Remove to match other parts Clarinet I not exist in other voices Bassoon I

172 Oboe I Missing crescendo Add to match other parts

172 Clarinet II Missing crescendo Add to match other parts

178 Clarinet II Slur over beat 3 & 4 eighth Change to cover whole measure notes

180 Clarinet I Slur not congruent with other Change to cover whole measure and instances match other instances

180 Clarinet II Slur over beat 3 & 4 eighth Change to cover whole measure and notes match other instances

182 Clarinet I Slur over beat 3-4 eighth Change to cover whole measure and notes match other instances

182 Clarinet I Slur over beat 3 & 4 eighth Change to cover whole measure and notes match other instances

187 Oboe I Slur does not match other Slur whole measure voices

187 Oboe II Slur does not match other Slur whole measure voices

187 Clarinet I Slur does not match other Slur whole measure voices

175 187 Clarinet II Slur does not match other Slur whole measure voices

192 Clarinet II No articulation over technical Add slurs over the two groups of passage sixteenths like Clarinet I in 193

192 Bassoon II No articulation over technical Add slurs over the two groups of passage sixteenths like Clarinet I in 193

193 Bassoon I No articulation over technical Add slurs over the two groups of passage sixteenths like Clarinet I in 193

195 Bassoon I No articulation over technical Add slurs over the two groups of passage sixteenths like Clarinet I in 195

196 Bassoon I Missing 'p' dynamic marking Add to match Clarinet I

209 Oboe I Missing 'sf' marking on beat 3 Added from Imbault parts Oboe II Clarinet I Bassoon I Bassoon II

211 Oboe I Missing 'sf' marking on beat 3 Added from Imbault parts Oboe II Clarinet I Bassoon I Bassoon II

212 Oboe I Missing 'sf' marking on beat 2 Added from Imbault parts Oboe II and 4 Clarinet I Clarinet II

218 Clarinet II Missing 'p' dynamic marking Add 'p' to match other parts

218 Bassoon I Missing 'p' dynamic marking Add 'p' to match other parts

218 Bassoon II Missing 'p' dynamic marking Add 'p' to match other parts

224 Oboe II Missing slashes on half notes Add to match other parts with similar roles

225 Bassoon I Misaligned dynamic Move 'p' marking to beat three to allow for a forte cadence on beat one

225 Bassoon II Misaligned dynamic Move 'p' marking to beat three to allow for a forte cadence on beat one

176 226-227 Bassoon II Missing slur beat 3-1 Add to match other parts

227 Clarinet I Eighth note on beat one Changed to quarter note to match Clarinet II other instances

228 Clarinet I Quarter note on beat one Change to eighth note w/ eighth rest to match other voices and instances

228 Clarinet II Staccato mark on beat 1 Omit to match other parts quarter note

229 Clarinet I Eighth note on beat one Changed to quarter note to match Clarinet II other instances

229 Horn I 'f' dynamic on beat one Remove to match other parts

230 Oboe II Missing staccato marks on Add to match other parts beat two eighth notes

229-233 Bassoon II Missing staccato marks on Add to match other parts eighth notes

231 Bassoon I Rhythmic disagreement on Change quarter note to eighth note beat one w/ eighth rest to match other parts

232 Oboe I Missing staccato marks on Add to match other parts beat two eighth notes

232 Oboe II Missing staccato marks on Add to match other parts beat two eighth notes

232 Clarinet I Missing staccato marks on Add to match other parts beat two eighth notes

232 Clarinet II Missing staccato marks on Add to match other parts beat two eighth notes

233-235 Clarinet I Articulation disagreement Remove staccato marks on eighth with other parts notes to match other parts

Movement II

Measure System Remarks Action 11 Clarinet II Articulation disagreement Slur whole measure to match with Clarinet I Clarinet I 16 Clarinet I Articulation disagreement Add slur to match Clarinet II with Clarinet II

177 33 Clarinet I Missing 'p' dynamic Add 'p' to match other parts 39 Bassoon I No articulations over first Add slurs to match articulation in two rhythmic groupings remainder of passage 60 Oboe I Dotted eighth note on beat 2 Add slurs to match articulation in followed by thirty-second remainder of passage/remove dot note sextuplet - should be no dot for rhythmic fit

Movement III

Measure System Remarks Action 3 Clarinet I Articulation difficult to read Slur whole measure to match Bassoon II 3 Clarinet II Articulation difficult to read Slur whole measure to match Bassoon II 3 Bassoon I Articulation difficult to read Slur whole measure to match Bassoon II 25 Clarinet I Beat 1 eighth notes (C-F in Changed staff ascending) - should be quarter note C in staff 29 Oboe I Missing articulation Add slur over measure to match other parts 33 Oboe I Missing articulation Add slur over measure to match other parts 39 Oboe II Articulation does not match Remove slur over beat 2-3 other voices 39 Clarinet I Articulation does not match Remove slur over beat 2-3 other voices 39 Horn I Articulation does not match Remove slur over beat 2-3 other voices 45 Oboe II Articulation difficult to read Add slur over measure to match other parts 51 Oboe II Articulation does not match Remove slur over beat 2-3 other voices 51 Clarinet II Articulation does not match Remove slur over beat 2-3 other voices 51 Horn I Articulation does not match Remove slur over beat 2-3 other voices

Movement IV

Measure System Remarks Action 3 Bassoon II Missing slur over whole Added measure

178 7 Oboe II Articulation disagreement Remove slur from eighth notes on beat two 7 Clarinet II Articulation disagreement Remove slur from eighth notes on beat two 9 Clarinet II Missing 'p' dynamic on beat 1 Added 10 Horn I Missing dynamic Add 'p' dynamic marking to match Horn II 11 Clarinet II Articulation disagreement Remove staccato from first sixteenth note 11 Oboe I Articulation disagreement Group last three sixteenth notes under slur to match other parts 11 Bassoon I Articulation disagreement Eliminate slur from whole measure; group last three sixteenths under one slur to match other parts

11 Bassoon II Articulation disagreement Eliminate slur from whole measure; group last beat under one slur to match other parts

Movement V

Measure System Remarks Action 4 Oboe I Articulation disagreement Slur first two eighth notes, staccato on third to match Clarinets

4 Oboe II Rhythm disagreement Change quarter note on beat two to eighth note to match other parts

4 Horn I Rhythm disagreement Change quarter note on beat two to eighth note to match other parts

4 Horn II Rhythm disagreement Change quarter note on beat two to eighth note to match other parts

8 Horn I Rhythm disagreement Change quarter note on beat two to eighth note to match other parts

8 Horn II Rhythm disagreement Change quarter note on beat two to eighth note to match other parts

17 Clarinet II Slash notation used Change dotted half note with slash to eighth notes to match Clarinet I

179 24 Oboe II Rhythm disagreement Change quarter note on beat two to eighth note to match other parts

24 Horn I Rhythm disagreement Change quarter note on beat two to eighth note to match other parts

24 Horn I Missing slur Add slur from beat 1-2 to match Oboe I 24 Horn II Rhythm disagreement Change quarter note on beat two to eighth note to match other parts

24 Bassoon I Rhythm disagreement Change quarter note on beat two to eighth note to match other parts

27 Horn I Missing 'f' dynamic Add 'f' dynamic on beat one to match other parts 28 Horn I Rhythm disagreement Change quarter note on beat two to eighth note to match other parts

28 Bassoon I Rhythm disagreement Change quarter note on beat two to eighth note to match other parts

29 All Missing fermata on fifth beat Added from Imbault parts of measure (eighth rest) 29 All Modulation in music to g Add key signature minor, key signature change missing 45 All Modulation in music to Eb Add key signature Major, key signature change missing 45 Clarinet I Rhythm is written out eighth Change to dotted half note with slash Bassoon I notes to match other parts 69 Oboe II Unnecessary dynamic Remove to match Oboe I 75 Clarinet II Missing 'f' dynamic Add 'f' dynamic on beat one to match other parts 75-76 Oboe I Rhythm disagreement Change dotted quarter notes with slashes to eighth notes 81 Oboe I Articulation disagreement Slur first two eighth notes, staccato on third to match Clarinets

81 Oboe II Rhythm disagreement Change quarter note on beat two to eighth note to match other parts

81 Horn I Rhythm disagreement Change quarter note on beat two to eighth note to match other parts

180 81 Horn II Rhythm disagreement Change quarter note on beat two to eighth note to match other parts

85 Horn I Rhythm disagreement Change quarter note on beat two to eighth note to match other parts

85 Horn II Rhythm disagreement Change quarter note on beat two to eighth note to match other parts

94 Clarinet II Slash notation used Realize in the case to match appearance of Clarinet I 97 Clarinet I Missing staccato in beat 1 Add staccato to match other instances 101 Horn I Missing slur Add slur from beat 1-2 to match Oboe I 106 Oboe I Slur placement unclear Slur first two notes to match articulation in Bassoon I (duet) 107 Oboe I Slur placement unclear Slur first two notes to match articulation in Bassoon I (duet) 100 Oboe I Slur placement unclear Slur first two notes to match articulation in Bassoon I (duet) 110 Oboe I Slur placement unclear Slur first two notes to match articulation in Bassoon I (duet) 111 Oboe I Slur placement unclear Slur first two notes to match articulation in Bassoon I (duet) 105 All Missing fermata on fifth beat Added from Imbault parts of measure (eighth rest) 106 Bassoon I Slur placement not congruent Slur whole measure to match Oboe I with Oboe I 116 Bassoon I Slur placement not congruent Slur first three eighth notes of the with Oboe I measure to match Oboe I 117 Oboe I Missing slur Add slur over whole measure to match Bassoon I 118 Bassoon I Slur placement not congruent Slur whole measure to match Oboe I with Oboe I 119 Bassoon I Slur placement not congruent Slur whole measure to match Oboe I with Oboe I 120 Bassoon I Slur placement not congruent Slur whole measure to match Oboe I with Oboe I 139-142 Oboe I Slur placement not congruent Slur beat two to beat one in each with Clarinets, Horn I & measure Bassoons 139-142 Oboe II Slur placement not congruent Slur beat two to beat one in each with Clarinets, Horn I & measure Bassoons

181 146 Oboe I Rhythm disagreement Change quarter note on beat two to eighth note to match other parts

146 Oboe I Slur placement not congruent Change to slur first two eighths, with Clarinets staccato third to match Clarinets 146 Oboe II Rhythm disagreement Change quarter note on beat two to eighth note to match other parts

146 Horn I Rhythm disagreement Change quarter note on beat two to eighth note to match other parts

149 Oboe I Missing slur Add slur over last five eighth notes of measure to match Clarinets

159 Clarinet II Slash notation used Realize in the case to match appearance of Clarinet I 165 Oboe I Missing 'f' dynamic Add 'f' dynamic on beat one to match other parts 166 Horn I Missing slur Add slur to match Oboes 170 All Missing fermata on fifth beat Added from Imbault parts of measure (eighth rest) 170 Horn I Rhythm disagreement Quarter note on beat 2 should be Horn II eighth note to match other parts 171 All Modulation in music to Bb Add key signature Major, key signature change missing 187 All Modulation in music to Eb Add key signature Major, key signature change missing 190 Oboe I Slur placement not congruent Change to slur first two eighths, with Clarinets staccato third to match Clarinets 210 Oboe II Rhythm disagreement Change quarter note on beat two to eighth note to match other parts

210 Horn I Rhythm disagreement Change quarter note on beat two to eighth note to match other parts

210 Horn II Rhythm disagreement Change quarter note on beat two to eighth note to match other parts

210 Bassoon I Rhythm disagreement Change quarter note on beat two to eighth note to match other parts

214 Bassoon I Rhythm disagreement Change dotted half note with slash to eighth notes to match Clarinet II

182 229 Bassoon II Slur placement not congruent Change to slur the whole measure to with Clarinet I (lead voice) match Clarinet I 234-235 Bassoon I Missing slur Add slur to match Clarinet II & Bassoon II 236-237 Bassoon I Missing slur Add slur to match Clarinet II & Bassoon II 239-240 Horn I Missing tie Add tie to match Horn II 257 Horn II Missing 'f' dynamic Add 'f' dynamic on beat one to match other parts 275-279 Bassoon I Missing staccato articulation Add to match other parts Bassoon II on all quarter notes 292-299 Bassoon II No courtesy numbers on Editorial addition repeated measures 293-299 Clarinet II No courtesy numbers on Editorial addition repeated measures

183

Appendix C: Comparison Between Don Mus. Ms. 1571 and 1579

Movement I

Measure System Mus. Ms. 1571 Data Action Missing or Changed from Mus. Ms. 1597

1 Oboe II Missing dynamic marking - 'f' Added

1 Bassoon II Missing dynamic marking - 'f' Added

2 Horn Change sixteenth notes on Changed beat four to two eighths on written 'D'

2 Horn I Staccato articulations on all Added eighth notes

2-3 Bassoon I Melodically doubled thirds Defaulted to 1597 present

2-3 Bassoon II Melodic material, in wrong Defaulted to 1597 voicing with respect to the original concertante

4 Clarinet II Missing dynamic marking - Added Horn I 'ff' Bassoon I Bassoon II

4 Clarinet I Missing staccato articulation Added Clarinet II on beat two eighth notes

4-7 Bassoon II Missing ties on low Ebs Added

5 Clarinet I Change appoggiatura to Changed sixteenth note from eighth note

6 Clarinet I Missing staccato articulation Added

184 Clarinet II on beat two eighth notes

6-7 Bassoon II Missing slur across bar line Added

7 Clarinet I Appoggiatura sixteenth note Changed instead of eighth

7 Oboe II Missing 'sf' marking Added Clarinet I Clarinet II Bassoon I

8 Oboe I Missing dynamic marking 'f' Added Oboe II on downbeat Bassoon I Bassoon II

8 Horn Beat three - dotted eighth- Changed sixteenth rhythm on in staff C-G pitches

9 Oboe I Missing 'p' dynamic on first Added Oboe II entrance in measure Horn I Bassoon I

9 Oboe II Missing staccato articulation Added Clarinet I on eighth notes Clarinet II

9 Oboe I Appoggiatura thirty-second Changed Oboe II note instead of sixteenth Clarinet I Clarinet II

9 Oboe II Sixteenth notes on beat four Changed are two eighth notes on Ab in staff

9 Bassoon I Missing 'p' dynamic on first Added entrance in measure

9 Oboe I Missing slur on beat four Added sixteenth notes

9 Horn Missing 'p' dynamic on beat Added one

9 Clarinet II Slur does not include all four Changed to include whole group

185 sixteenth notes

10 Oboe I Missing staccato articulation Added Clarinet I on beat three eighth notes

10 Oboe II Missing staccato articulation Added Clarinet II on eighth notes

10 Oboe II Sixteenth notes on beat four Changed are two eighth notes on Ab in staff

10 Oboe I Appoggiatura thirty-second Changed Clarinet II note instead of sixteenth

10 Oboe I Missing slur on beat four Added Clarinet I sixteenth notes Clarinet II

10 Horn I Missing tie across bar line Added

11 Horn I Missing staccato articulation Added on beat two eighth notes

11-12 Bassoon Missing slur across bar line to Added included all of next measure

11-14 Bassoon II Missing ties across bar line Added

12 Clarinet I Missing slur across bar line Added

12 Horn I Missing slur on beat one, Added/Changed staccatos on beat two, change last two beats from sixteenth notes to four eighth notes D- E-F-D in staff

13 Horn I Missing slur on beat one, Added staccatos on beat two

13 Clarinet I Beat one quarter note instead Changed of half note

13-14 Bassoon I Missing slur across bar line to Added included all of next measure

14 Bassoon I Missing 'sf' marking on beat Added three

15-17 Oboe I Missing crescendo Added

186 15-16 Clarinet I Missing slurs on sixteenth Added notes, two beats per group (1- 2, 3-4 in each measure)

16 Oboe II Missing crescendo wedge Added Clarinet I over whole measure Clarinet II Horn I Horn II Bassoon I Bassoon II

17 Oboe I Missing 'f' dynamic on beat Added Clarinet I one Bassoon I

18 Clarinet II Beat 1+ through beat 3 down Changed the octave

19 Bassoon I Missing 'p' dynamic on first Added Bassoon II entrance in measure

19-27 Clarinet II Missing courtesy numbers Added over repeated measures

20 Oboe I Missing staccato articulation Added on beat three-four quarter notes

20-29 Clarinet II Two half notes with slashes Changed instead of whole note with slash

20 Bassoon I Add slur over beat 1-2 eighth Added notes to match Oboe I

21 Bassoon I Add slur over beat 1-2 eighth Added notes to match Oboe I

22 Oboe I Add slur over beat 3-4 eighth Added notes to match Bassoon I

23 Oboe I Change appoggiatura-half Changed Bassoon I note-quarter note figure to three quarter notes with trill on second, grace notes to third (graces only in Oboe I)

24 Oboe I Missing slur over beat 3-4 Added

187 24-27 Bassoon II Missing slur over four Added measures

26 Oboe I Missing slur over beat 3-4 Added

27 Clarinet I Missing accidental on in-staff Added B-natural

28 Bassoon II Two half notes w/ slashes Changed instead of four eighth notes and half note w/ slash

29 Oboe I Slur does not align with Changed to included last four eighth Bassoon I duet notes on beat 3-4

29 Bassoon II Missing slashes on half notes Added

30 Bassoon II Missing slash on first half Added note of measure

31 Oboe I Missing 'f' dynamic on beat Added Oboe II one of measure Clarinet I Clarinet II Bassoon I

31 Oboe II Quarter notes on wrong beats Changed to beats 2 & 4 - On 2 & 4, should be on 1 & 3

31 Clarinet II Second quarter note on wrong Changed to beat 3 beat - On beat 4, should be on 3

32 Oboe II Missing slur over whole Added measure

33 Oboe II Missing slur over whole Added measure

33 Bassoon I Missing slur over whole Added measure

33-34 Horn I Missing tie connecting three Added measures

35 Oboe II Slur does not align with Oboe Changed to 2+2 I - Over all four quarters, should be 2+2

188 35 Bassoon I Missing slurs, beats 1-2 & 3- Added 4 quarter notes

36 Clarinet I Missing 'p' dynamic on beat Added four

36 Bassoon I Extra quarter note on beat 4 Changed to quarter rest that does not make sense with the next anacrusis

37 Clarinet I Slurs from beats 1-2 & 3-4, Changed should be whole measure

37 Clarinet II Staccato articulation on beat Changed 2+, separate slurs over beat 3 & 4 - should be slur over whole measure

39 Clarinet I Slur over beat 3-4, should be Changed slur over whole measure

39 Clarinet II Separate slurs over beats Changed 3&4, should be slur over whole measure

42 Clarinet I Beats 3-4 eighth notes Changed staccato two, slur two, should be staccato 1, slur three

43 Oboe I Missing 'p' dynamic on beat Added four

44 Oboe II Missing 'p' dynamic on beat Added four

46 Oboe I Slurs on beats 3 & 4 eighth Changed notes only - should be over whole measure

46 Oboe II Slur over beat 1-2, and beats Changed 3 & 4 eighth notes - should be over whole measure

46 Clarinet I Slur over beats 3 & 4 eighth Changed notes - should be over whole measure

46 Clarinet II Slur over beats 3 & 4 eighth Changed notes - should be over whole measure

189 47 Oboe I No slurs over beats 1-3 & 1- Changed Oboe II 2, respectively

48 Oboe II Slur over first three of beats Changed 3-4 eighth notes - should include all four

48 Clarinet I No slur over beat 1-2 Changed

48 Clarinet II Staccato on 2+; slurs over Removed beats 3 & 4's eighth note pairs

49 Clarinet I Slur over whole measure - Changed should be over beats 3-4 eighth notes

49 Clarinet II Slurs over beat 3 & 4's eighth Changed note pairs - should be over whole measure

50 Oboe I Missing slur on beat 1 Added

50 Oboe II Missing slur on beat 1, no trill Removed on beat 4

51 Bassoon I Slur on beat 1 sixteenth notes Changed - should be none

52 Clarinet II Two half notes - should be Changed whole note

52 Oboe II Missing slur to downbeat Added

52 Clarinet I Missing tie across bar line Added

56-58 Bassoon II Missing slashes on half notes Added

56-57 Clarinet I Missing articulation dots on Omitted half notes (four)

58 Clarinet II Missing articulation on beats Added 3-4 eighth notes - should be slur two, staccato two

60 Bassoon I Missing slur over beats 1-2 Added sixteenth notes

61 Bassoon I Missing staccato articulation Changed on last three eighth notes, no trill on beat 4 eighth note

190 62 Bassoon I Appoggiatura sixteenth note Changed instead of eighth

63 Bassoon I Appoggiatura sixteenth note Changed/Added instead of eighth, missing slur on beat 3

65-66 Bassoon II Missing slashes on half notes Added

66 Oboe I Missing slur on beat 1+ Added sixteenth notes

66 Oboe II Half note on beat 3-4 - should Changed be whole note

66 Oboe I Missing 'f' dynamic on beat Added Horn I one Bassoon II

66 Horn II Dynamic 'p' - should be 'f' Changed/Added with decrescendo wedge to match Horn I

67 Oboe I Appoggiatura sixteenth note Changed instead of eighth

67 Clarinet I Missing slur over whole Added measure

67 Horn II Missing decrescendo wedge Added

67-73 Bassoon II Missing slashes on half notes Added

68.3-69 Oboe II Missing slur across bar line to Added Bassoon I include all of next measure

68-73 Horn I Missing ties across bar lines Added

68 Clarinet II Missing 'p' dynamic on beat Added 3+

69 Oboe II Missing 'sf' marking on beat Added three

69 Bassoon I 'rf' marking should be 'sf' Changed

70 Oboe I Missing slur across bar line to Added Bassoon I include all of next measure

71 Oboe II Missing 's' of 'sf' marking Added

191 71 Bassoon I Missing 'sf' marking Added

72 Clarinet II Missing dynamics - p, f, p, f - Added on each beat

73 Clarinet I Missing slurs on sixteenth Added notes beats 3, 4, & 4

78 Oboe II Missing slur beat 2-3 Added Bassoon II

78-79 Bassoon I Missing slur beat 4-1 Added

79 Bassoon II Missing slur beat 2-3 Added

79 Horn I Missing tie across bar line Added

79-80 Bassoon I Missing slur across bar line to Added downbeat

80 Bassoon I Half note on beat 3-4 - should Changed be D above staff, not F

80-81 Bassoon II Missing slashes on half notes Added

81 Clarinet I Missing slur on beat 1 Added

82 Clarinet I Missing slurs on beats 3+, 4, Added 4+ pairs of sixteenths

83 Oboe I Missing 'tr' marking on Added Oboe II second half note of measure

83 Clarinet I Missing pair of grace notes to Added downbeat (C-D)

84 Oboe II Missing 'p' dynamic on beat 2 Added

84 Bassoon I Missing 'p' dynamic on beat 1 Added Bassoon II

85 Oboe I Missing staccato mark on Added Oboe II eighth note on beat one

85 Oboe I Missing slur on beat 3-4 Added Oboe II eighth notes

85 Clarinet I Missing slur to downbeat and Added 'p' dynamic marking on beat 3

192 85 Clarinet II Missing 'p' dynamic on beat 3 Added

86 Oboe I Missing staccato articulation Added Oboe II on beat 2-4 eighth notes; missing slur over beat 3-4 eighth notes

87 Oboe I Missing staccato articulation Added on beat 1-2 eighth notes

87 Oboe II Missing staccato articulation Added on beat 1 eighth note; missing slur over beat 3-4 eighth notes

88 Oboe I Beat one quarter, should be Added/Changed eighth with eighth rest; beats 2-4 eighth note missing staccato articulation

88 Oboe II Beat one quarter, should be Added/Changed eighth with eighth rest; beats 3-4 eighth note missing staccato articulation

88 Clarinet I Missing 'f' dynamic on beat 3 Added

88 Clarinet II Missing staccatos on beat 2-4 Added eighth notes

88 Horn I Missing 'f' dynamic on beat 2 Added Horn II Bassoon I Bassoon II

89 Oboe I Missing staccato articulation Added Oboe II on beat 1 eighth note; missing Clarinet II slur on beat 3-4 eighth notes

89 Clarinet I Missing tie across bar line Added

89 Bassoon I No slur on beat 2 eighth notes Removed

90 Oboe I Missing staccato articulation Added Oboe II on beat 2-4 eighth notes Clarinet II Bassoon I

193 91 Oboe I Missing staccato articulation Added Oboe II on beat 1 eighth note; missing Clarinet II slur over beat 3-4 eighth Bassoon I notes

91 Bassoon I Appoggiatura sixteenth note Changed instead of eighth

92 Oboe I Missing staccato articulation Added/Removed beat 2-3 eighth notes; no slur over beat four

92 Oboe II Missing appoggiatura to beat Added/Changed four; beat four eighth-two sixteenths (A Nat., G, A Nat.)

92 Horn I No tie across bar line Removed

93-4 Oboe I Missing staccato articulation Added/Changed on beat 1-3 eighth notes; appoggiatura to beat four should be sixteenth note

93-94 Oboe II Missing staccato articulation Changed on beat 1-3 eighth notes

94 Horn I Missing tie across bar line Added Horn II

95-96 Oboe I Missing articulation dots on Omitted Oboe II half notes (four on each)

95 Clarinet I Missing tie across bar line Added Clarinet II

97-99 Oboe I Staccato articulations on all Removed eighth notes - should be none

99 Horn I Missing articulation dots on Omitted half notes (four on each)

101 All Forward repeat Omitted

101 Oboe I Missing 'p' dynamic on beat 1 Added Clarinet II

101 Bassoon I Dynamic 'f' - should be 'p' to Changed Bassoon II match other parts

194 101 Oboe I No tie from first half note of Added as edit; added measure to last four eighth notes; missing slur over beat 3-4 eighth notes

101-107 Clarinet I Slurs on beat 1, 2, 3, 4 eighth Changed notes in pairs - should be in groups of four

102 Oboe I Missing staccato articulation Added on beat 3

104 Oboe II Missing staccato articulation Added on beat 3

105 Clarinet I 'pp' dynamic articulation Omitted present

105 Bassoon I Missing slur over beat 3+-4's Added eighth notes (last three of measure)

106 Clarinet I Separate slurs over beat 3 & Changed 4's eighth notes - should be over beat 3-4 grouping

106-105 Clarinet II Missing slur - should be slurs Added over beat 1-2 & 3-4 eighth notes

106 Bassoon I Missing slur over beat 3-4 Added sixteenth notes

107 Clarinet I Slurs over beat 1 & 2's eighth Changed notes, staccato articulation on first eighth note of beat three - should be slurs over beat 1- 2, 3-4 groupings

108 Oboe I Missing 'p' dynamic on beat Added/Changed 1, half note beat 3-4 should be written out as eighth notes

109 Oboe I 'p' dynamic marking - should Omitted be none

109 Clarinet I Half note on beat 3-4 with Changed slash - should be written out eighths

195 110 Bassoon I Missing 'p' dynamic on beat Added/Changed 1; half note w/ slash beat 3-4 written out eighths

111 Bassoon II Missing 'p' dynamic on beat Added/Changed 1; half note w/ slash beat 3-4 written out eighths

112 Oboe II Missing 'f' dynamic on beat 1 Added Clarinet I Clarinet II Bassoon I Bassoon II

112 Clarinet II Missing slur over beat 1-2; Added/Changed half note written out as eighth notes

117 Oboe I Slur over beat 1-3 - should be Changed over whole measure

117 Oboe II Two pairs of beamed half Changed to eighth notes notes indicating performance as eighth notes

118 Clarinet I First half note of measure is Changed written A - should be G with tie to beat three; missing slur over whole measure

120 Clarinet I Missing slur over whole Added measure

121 Oboe I Missing slur over whole Oboe II measure

121 Clarinet I Missing quarter note on Added downbeat, written D in staff

121 Clarinet II Missing 'p' dynamic on beat 1 Added

122 Oboe I Missing slur on beat 4 eighth Added notes and tie from 4+ to downbeat

122 Oboe II Missing slur on beat 1 & 4 Added eighth notes and tie from 4+ to downbeat

196 122-226 Clarinet II Whole note with slash should Changed be half notes with slashes

124 Oboe II Missing slur over whole Added measure

125 Oboe II Missing slur on beat 1 Added

126 Oboe II Missing slur on beat 3+-4 Added

127 Oboe II Slur over beat 1-3 - should be Changed beat 1-2

127 Clarinet II Half note on beat 1-2 missing Added slash

128 Oboe II Missing slur beat 1-2 Added

129 Oboe I Missing slur over whole Added measure

130 Oboe I Missing slur on beat 4 Added sixteenth notes

132 Oboe I Missing 'tr' marking on Added Oboe II second half note of measure; missing pair of grace notes to next measure (C-D, A-Bb, respectively)

133-133 Clarinet I Missing slur across bar line to Added Clarinet II include all of next measure

133 Bassoon I Missing 'p' dynamic on beat Added 3+

133 Bassoon Missing 'p' dynamic on beat 1 Added

134 Horn I Missing 'sf' marking on beat 3 Added Horn II

135-136 Clarinet I Missing slur across bar line to Added Clarinet II include all of next measure

136 Clarinet I Missing 'sf' marking on beat 3 Added Clarinet II Horn I Horn II

137 Oboe I Slurs on beat 1 & 3's eighth Removed

197 notes - not there

138 Oboe II Missing 'p' dynamic on beat Added 1+

138 Bassoon I Missing 'p' dynamic on beat 1 Added

140 Bassoon II Quarter notes on beats 1-4 - Editorial change - replace with rest should be whole note, B (Imbault parts) natural in staff

141 Oboe I Missing sixteenth note grace Added note to downbeat, Eb in staff

141 Clarinet I Missing 'p' dynamic on beat 1 Added

141-142 Bassoon II Whole notes - should be four Changed quarters (C, Eb, D, low G, in staff)

141-142 Bassoon I Missing slur from beat 4-1 Added

142-143 Bassoon I Missing slur from beat 4-1 Added and over 143

145 Bassoon I Missing slurs on beats 1-2, 3- Added as edit (slur over whole 4 measure)

146 Clarinet II Beat 1-2 eighth notes written Changed as half note with slash

146 Bassoon I Missing 'f' dynamic on beat 1 Added

148 Oboe I Missing 'p' dynamic on beat 4 Added Bassoon II

150 Clarinet I Missing 'p' dynamic on beat 4 Added

154 Clarinet II Missing slur over whole Added Horn I measure Horn II Bassoon I Bassoon II

155 Horn I Missing slur over whole Added Horn II measure Bassoon II

198 156 All Missing crescendo- Added decrescendo dynamic wedges over first half note in measure; missing fermata over second half of measure

157 Horn I Missing 'f' dynamic on beat 1 Added Horn II Bassoon I Bassoon II

158 Horn I Missing 'p' dynamic on beat 4 Horn II

158-159 Oboe I Missing staccatos on all Added Oboe II eighth notes Horn I

158-159 Oboe I Appoggiatura thirty-second Changed note instead of sixteenth

159 Clarinet I Missing tie to downbeat Added Clarinet II

160 Clarinet I Missing staccato articulation Added Clarinet II on beat 2 eighth notes

160 Clarinet II No sixteenth appoggiatura to Removed beat two

160 Horn I No 'p' dynamic on beat 1 Removed Horn II

160 Bassoon I Missing 'p' dynamic on beat 3 Added

160-161 Bassoon I Missing slur across bar line to Added include all of next measure

161 Oboe I Missing 'sf' marking on beat 3 Added Clarinet I Clarinet II

161 Clarinet I Missing appoggiatura to beat Added Clarinet II 1, missing slur over beat 3-4 eighth notes

161 Horn I Missing tie to downbeat Added Bassoon II

199 161-162 Bassoon II Missing tie connecting three Added measures

162 Clarinet II Missing staccato articulation Added on beat 2 eighth notes

162-163 Bassoon I Missing slur across bar line to Added include all of next measure

163 Oboe I Missing 'sf' marking on beat 3 Added Clarinet I Clarinet II

163 Clarinet I Appoggiatura sixteenth note Changed instead of eighth to downbeat

164 Oboe I Missing 'f' dynamic on beat 1 Clarinet II Horn II

164 Oboe I Missing slur over last 7 Edited addition - slur over all sixteenth notes of measure sixteenths

165 Oboe I Missing 'p' dynamic on first Added Clarinet I entrance in measure Horn I Horn II Bassoon I Bassoon II

165-166 Clarinet I Missing staccato articulation Added/Changed Clarinet II on eighth notes; eighth note appoggiaturas should be thirty-second notes

165-166 Clarinet II Remove appoggiaturas, beat Changed four sixteenths should be two eighth notes on Bb in staff

165-166 Horn I Missing staccato articulation Added Horn II on eighth notes

165-166 Bassoon I Missing staccatos on all Added eighth notes, missing slur on sixteenth notes (165 only)

165-166 Bassoon II Missing staccatos on all Added/Changed eighth notes, missing slur on sixteenth notes, sixteenth note appoggiaturas should be 200 thirty-second notes

167 Oboe I Missing staccato articulation Added on beat 2 eighth notes

167-168 Bassoon I Missing slur across bar line to Added include all of next measure

168 Oboe I Beat three sixteenth notes Changed should be eighth notes on F-G top of staff, beat four sixteenth notes should be appoggiatura Bb above staff descending to Ab-G-F on eighth note with pair of sixteenth notes rhythm

168 Clarinet I Missing slur across bar line to Added downbeat

169 Oboe I Missing staccato articulation Added on beat 2 eighth notes

169 Bassoon I Missing slur across bar line to Added include all of next measure

170 Oboe I Same issue as m. 168 Changed

171-172 Oboe I Staccato articulations on all Removed eighth notes - should be none

171 Bassoon I 'f' dynamic marking - should Removed be none

172 All Missing crescendo wedge Added over whole measure

173 Oboe I Eighth-two sixteenth pattern Changed (top of staff G-F-G, Ab-G- Ab, Bb-Ab-Bb, C-Bb-C) w/ appoggiaturas to each - should be pairs of eighths G, Ab, Bb, C

173 Clarinet I Appoggiaturas to beat 1-3, Changed slurs on all beats - eliminate all

201 173 Oboe I Missing 'f' dynamic on beat 1 Added Clarinet I Horn I Horn II Bassoon I Bassoon II

174 Horn I Missing tie across bar line Added Horn II

175 Oboe I Change material from quarter Changed note on C, dotted quarter on C in staff with six sixteenth notes on c minor ascending scale to half note on C in staff tied to quarter note

175 Oboe II Missing slashes on half notes Added

178 Clarinet I Slur over beat 3-4, should be Changed slur over whole measure

178 Clarinet II Slur over beats 3 & 4 eighth Edited addition - slur over whole notes - should be over beat 3- measure to match other instances 4

178 Bassoon I Missing 'p' dynamic on beat 2 Added

180 Clarinet I Missing slur over beat 2+-4 Edited addition - slur over whole measure to match other instances

180 Clarinet II Missing slur over beat 3 & 4 Edited addition - slur over whole eighth notes measure to match other instances

182 Clarinet I Missing slur over beat 3-4 Edited addition - slur over whole measure to match other instances

182 Clarinet II Missing slur over beat 3 & 4 Edited addition - slur over whole eighth notes measure to match other instances

183 Clarinet II Slurs over sixteenth notes on Changed beat 2+ and the two eighth notes on beat 3+-4 - should be over beat 1-2 and 3-4

184 Oboe I Missing 'p' dynamic on beat 4 Added

184 Clarinet II Staccato articulation on beat 4 Removed quarter note - should be none

202 184 Bassoon I Four quarter notes bottom of Changed staff Ab, Bb, Bb, Bb - should be quarter rest, Bb, Bb (8va), Bb (8vb)

185 Oboe I Slur over beat 3-4, should be Changed slur over whole measure

185 Oboe II Missing 'p' dynamic on first Added Horn I entrance in measure Horn II Bassoon II

186 Oboe II Slur over beat 1-2 - should be Removed none

187 Oboe I Slur over beat 2+-end of Edited addition - slur over whole measure measure to match other instances

187 Oboe II Slurs over beat 3 & 4's eighth Edited addition - slur over whole Clarinet II note pairs - should be over measure to match other instances beat 2+-end of measure

187 Clarinet I Slurs over beat 1-2, 3-4 - Edited addition - slur over whole should be over beat 2+ -end measure to match other instances of measure

188-189 Oboe II Slur over beat 1-2 - should be Removed none

188 Clarinet I Missing slur over beat 4 Added eighth notes

188 Clarinet II Beat 4 is eighth rest and Changed eighth note (A natural in staff) - should be quarter note A natural on beat 4

189 Clarinet II Staccato articulation on beat Removed/Added 2+, separate slurs over beat 3+ & 4's eighth notes - should be no staccato slur over beat 3-4

190 Clarinet I Slur over beat 3-4 - should be Changed staccato one, slur four

191 Oboe I Appoggiatura sixteenth note Changed instead of eighth

203 191 Clarinet II Slurs over beat 1& 2 eighth Changed notes, should be over beat 1-2

192 Clarinet II Single quarter note first space Changed Bassoon II F - Should be Beat 1: eighth, two-sixteenths, 2: four sixteenths, 3: eighth-two sixteenths, 4: four sixteenths

192 Horn II Sixteenth note arpeggios on Changed all beats - should be quarter note middle C with remainder of measure rest

193 Oboe I Written D in staff - should be Changed Bb

193 Oboe II Missing tie across bar line Added

193 Clarinet II Written in staff G whole note Changed - should be E

193 Clarinet I Missing slur over beat 3-4 Added sixteenth notes

194 Oboe I Written top space Eb quarter Changed note - should be Bb

194 Clarinet II Single quarter note first space Changed Bassoon II F - Should be Beat 1: eighth, two-sixteenths, 2: four sixteenths, 3: eighth-two sixteenths, 4: four sixteenths

195 Horn II Sixteenth note arpeggios on Changed all beats - should be quarter note middle C with remainder of measure rest

195 Oboe I Written D in staff - should be Changed Bb

195 Clarinet I Missing slurs over beat 1, 2, Added 3-4

195 Clarinet II Written in staff G whole note Changed - should be E

196 Clarinet I Missing staccato articulation Added on beat 4 eighth notes;

204 missing 'p' dynamic on beat 3

196-197 Clarinet II Sixteenth note figures should Changed be down octave

196-197 Horn I Missing slurs over both Added Horn II measures

196 Bassoon I Missing slur over beat 3+, Added missing staccato articulation on beat 4 eighth notes

196 Bassoon II Missing 'p' dynamic on beat 1 Added

197 Clarinet I Missing staccato articulation Added Bassoon I on beat 4 eighth notes

198 Clarinet II Downbeat should be down Changed octave - F below staff

199-205 Clarinet II Missing slashes on half notes Added

202 Clarinet I Missing slur on beat 3-4 Added eighth notes

203 Bassoon I Missing slur on beat 1 eighth Added notes, missing staccato articulation on beat 2 eighth notes

204 Clarinet I Missing trill on beat 2+ and Added 3+ trills

205 Clarinet I Missing grace note pair Added before down beat of 206 (F-G top of staff)

206 Oboe I 'rf' marking on beat 1 - should Changed be 'sf'

206 Oboe II 'f' dynamic written on beat 1 - Changed Clarinet I should be 'sf' Horn I Horn II Bassoon II

206 Clarinet II Missing 'sf' marking on beat 1 Added Bassoon I

205 206 Horn I Missing tie across bar line Added

207 Oboe I Appoggiatura sixteenth note Added instead of eighth

208-209 Oboe II Missing slur from second half Added note across bar line to include all of next measure

208-209 Clarinet I Slur from last half note across Changed Bassoon I bar line to first half of next measure - should be slur across bar line to include whole measure

209 Horn I Missing tie across bar line Added

210-211 Oboe II Missing slur from second half Added note across bar line to include all of next measure

210-211 Clarinet I Slur from last half note across Changed Bassoon I bar line to first half of next measure - should be slur across bar line to include whole measure

212 Oboe I Slurs from beat 1+-2 and 3+- Removed 4 - should be no slurs

212 Horn I Missing tie to downbeat Added

213-214 Clarinet II Whole note with slash should Changed be half notes with slashes

213 Bassoon I Missing slur over whole Added measure

218 Oboe I Missing 'p' dynamic on first Added Oboe II entrance in measure Clarinet I

218-220 Oboe I Missing ties connecting three Added measures

218 Oboe II Missing slur from beat 2-3 Added

218 Bassoon I Missing slur from beat 4-1 Added

206 222 Clarinet I Ties between beats 2-3 and 3- Removed/Changed 4 - should be no ties; slur over beat four sixteenth notes - should be slur from beat 3+ sixteenth notes over beat four

224 Oboe I Missing articulation dots on Omitted half notes (four on each)

224 Clarinet I Missing pair of grace notes to Added downbeat (F-G top of staff)

225 Clarinet I Missing 'p' dynamic on beat Added 1; missing staccato articulation on beat 3-4 eighth notes

226 Oboe I Missing 'p' dynamic on beat 4 Added

226 Clarinet I Missing staccato articulation Added on beat 1 eighth note

226 Clarinet II Beat 3-4 eighth notes written Changed as slur two-staccato two - should be slur four

227 Clarinet I Quarter note on beat 1 should Changed/Added Clarinet II be eighth note w/ eighth rest; quarter note on beat 3 should be eighth note with eighth rest; missing staccato markings beat 3-4

227 Clarinet II Missing staccato articulation Added on beat 2-3 eighth notes

228 Oboe I Slur/tie from last half note Removed across bar line to rest on beat one

228 Clarinet II Slur over beat 3+-4 pair of Changed eighth notes - should be over beat 3-4 group of four

229 Oboe I Missing staccato articulation Added Oboe II on beat 2-4 eighth notes Clarinet I Bassoon I

207 229 Clarinet II Missing staccato articulation Added/Changed on beat 2-3 eighth notes; quarter note on beat 1 should be eighth note w/ eighth rest

229 Horn I Missing 'p' dynamic on beat 2 Omitted to match other parts

230 Oboe I Missing staccato articulation Added Clarinet I on beat 1-2 eighth notes Clarinet II Bassoon I

230 Oboe I Appoggiatura sixteenth note Changed instead of eighth to beat 3

230 Oboe II Missing slur over beat 3-4 Added eighth notes

230 Clarinet I Staccato articulation on beat 4 Omit staccato articulation eighth notes under slur

230 Clarinet II Slur two-staccato two on beat Changed 3-4 eighth notes - should be slur all four

231 Oboe I Missing staccato articulation Added Oboe II on beat 2-4 eighth notes Clarinet I Clarinet II Bassoon I

231 Clarinet II Quarter note on beat 1 should Changed Bassoon I be eighth note w/ eighth rest

232 Oboe I Missing staccato articulation Added on beat 1 eighth note; appoggiatura sixteenth note instead of eighth note; missing slur over beat 3-4 eighth notes

232 Oboe II Missing staccato articulation Added/Changed on beat 1 eighth note; beat 3- 4 eighth notes slur two- staccato two - should be slur four

208 232 Clarinet I Missing staccato articulation Added/Changed on beat 1 eighth note; slur on beat 2 eighth notes - should be none; last eighth note of measure is middle space C - should be G

232 Clarinet II Missing staccato articulation Added on beat 1 eighth note; missing slur on beat 3-4 eighth notes

232 Bassoon I Missing staccato articulation Added on beat 1-2 eighth notes

233-235 Clarinet I Staccato articulation on beat Removed/Added/Changed 2-3 eighth notes - should be none; missing top line F sixteenth note appoggiatura to beat 4; beat 4 pair of eighth notes - should be E-D-E eighth-two sixteenth notes

233-235 Clarinet II Missing ties connecting three Added measures

234 Horn I Missing tie across bar line Added

236 Oboe I Missing slashes on half notes; Added/Omitted missing articulation dots over each half note (four)

236 Oboe II Missing slash on beat 3-4 half Added note

236 Clarinet II Beat 1-2 eighth notes - should Changed/Added be written as half note with slash; missing slash on beat 3-4 half note

236 Horn I Missing tie across bar line Added Horn II

237 Oboe I Missing slashes on half notes; Added/Omitted missing articulation dots over each half note (four)

237 Oboe II Missing slashes on half notes Added Clarinet II

209 238 Oboe I Missing 'f' dynamic on beat 4 Added Oboe II Bassoon I Bassoon II

238 Horn II Missing 'p' dynamic on beat 2 Added

239 Horn I Missing 'p' dynamic on beat 2 Added Horn II

240 Oboe II Half notes with slash - should Changed be written out

240 Horn II Missing 'f' dynamic on beat 2 Added

Movement II

Measure System Mus. Ms. 1571 Data Action Missing or Changed from Mus. Ms. 1597 1 Clarinet II Missing 'p' dynamic on beat 1 Added Horn I Horn II Bassoon I Bassoon II

1-16 Horn I No material in 1597 Added Horn II 7 Clarinet I Sextuplet on beat one - Changed should be two triplet sixteenth note groups; slur over beat one - should be no slur 7 Clarinet II Slur over beat 2 eighth notes - Removed should be none 8 Clarinet I Missing slur over whole Added measure 9 Clarinet I Beat 2 sixteenth notes slurred Changed two + two - should be slur over group of four 10 Clarinet I Beat 1 & 2 sixteenth note Changed groups each have slur - should be slur over whole measure

210 10 Clarinet II Beat 1 sixteenth notes: slur Edited addition - slur over whole 2+2, beat 2: staccato 1, slur measure to match Clarinet I three - should be slur over each group of four 12 Clarinet II Sixteenth note appoggiatura Changed to beat 1 should be eighth note 14 Clarinet I Eighth note on beat 2 - should Changed be quarter note 17 Oboe I Missing 'p' dynamic on beat 1 Added Oboe II Clarinet I Clarinet II Horn II Bassoon I Bassoon II

19 Bassoon I Half note - should be four Changed eighth notes 20 Clarinet I Missing trill on beat 1; Added missing slur beat 1-2 20-21 Horn I Missing slur over whole Added Horn II measure 23 Oboe II Dotted quarter note - should Changed be written as quarter note tied to eighth note 23 Horn I Missing slur over whole Added Horn II measure 24 Clarinet I Sixteenth note appoggiatura Changed to beat 2 should be thirty- second note 24 Bassoon I Written Bbs in measure - Changed should be Abs 26 Clarinet I Missing staccato articulation Added on last sixteenth note of measure 27 Clarinet I Missing staccato articulation Added on third and last sixteenth note of measure 28-29 Horn I Missing slur over whole Added Horn II measure 31 Clarinet I Missing slur over beat 2 Added sixteenth notes 32 Oboe II Dotted quarter note - should Changed be written as quarter note tied to eighth note

211 32 Clarinet I Missing slur over whole Added Horn I measure Horn II 33-48 Horn I No material in 1597 Added Horn II 33 Clarinet II Missing 'p' dynamic on beat 1 Added Bassoon II

34 Bassoon I Missing slur over beat 2 Added 35 Bassoon I Tongue one, slur three over Changed beat 1 first group of thirty- second notes - should be slur all four; Tongue one, slur three over beat 2 first group of thirty-second notes - should be slur all four 36 Bassoon I Tongue one, slur three over Changed beat 1 first group of thirty- second notes - should be slur all four 39 Clarinet I Missing slur over whole Added Clarinet II measure 39 Bassoon I Appoggiatura eighth note to Changed beat 1+ - should be thirty- second note; Appoggiatura sixteenth note to beat 2+ - should be thirty-second note 43 Bassoon I Missing slur over beat 1; slurs Added/Changed over beat 1+, 2, 2+ are tongue one-slur three - should be slur all of four thirty-second note group 44 Clarinet I Missing slur over whole Added measure 44 Bassoon I Missing trill on second Added sixteenth note of measure, beat 1e 45 Bassoon I Slur over last 6 thirty-seconds Changed of beat 1 - should be over all of beat 1 47 Clarinet II Missing slur over whole Added measure 48 Clarinet I Missing slur over whole Added Bassoon I measure 49-64 Oboe I 1597 - no material; 1571 - Changed material from Clarinet I in Oboe I

212 49-64 Clarinet I 1597 - melodic material Added sixteenth note triplets; 1571- accompanimental figures 49-64 1597 - no material; 1571 - Added accompanimental figures 49 Clarinet II Missing 'p' dynamic on beat 1 Added Bassoon I Bassoon II

52 Clarinet II Beat 2 sixteenth notes tongue Changed one-slur three - should be slur over group of four 55 Clarinet II Missing slur over whole Added measure 57 Clarinet II Missing slur over whole Added measure 57 Bassoon I Missing tie to next measure Added 60 Oboe I Slur two-staccato one on first Changed sixteenth note triplet - should be no articulation 61 Bassoon I Eighth note & eighth rest on Changed beat 1 should be quarter note 62 Bassoon I Eighth note & eighth rest on Changed beat 1 should be quarter note 63 Clarinet II Missing slur over whole Added measure 65-80 Clarinet I 1571 Variation 4 = material Switched Clarinet II from 1597 variation 5 65-80 Horn I 1571 Variation 4 does not Added Horn II exist in 1597 65-80 Bassoon I 1571 Variation 4 = material Switched from 1597 variation 5 65 Clarinet I 1597 Variation 4 - Missing 'p' Added Clarinet II dynamic on beat 1 Horn I Horn II Bassoon I Bassoon II

65-80 Horn I 1597 Variation 4 Melody = Switched 1571 Variation 5 set in Bassoon II 65 Clarinet I 1597 Variation 4 - Staccato Editorial omission to match other articulation on last sixteenth parts 66 Clarinet I 1597 Variation 4 - Missing Added slur over beat 1 staccato sixteenth notes 213 66 Bassoon II 1597 Variation 4 - Missing Added thirty-second note arpeggios to first four sixteenth notes 68 Clarinet II 1597 Variation 4 - Missing Added/Changed slur beat 1-2; last three sixteenths in 1597 staccato 1, slur two - should be slur last three 69 Clarinet I 1597 Variation 4 - Staccato Editorial omission to match other articulation on last sixteenth parts 70 Clarinet I 1597 Variation 4 - Missing Added slur over beat 1 staccato sixteenth notes 70 Bassoon II 1597 Variation 4 - Missing Added thirty-second note arpeggios to first four sixteenth notes 72 Clarinet I 1597 Variation 4 - Missing Added slur over whole measure 72 Bassoon II 1597 Variation 4 vs. 1597 Added Variation 4 - Missing slur over whole measure 76 Clarinet II 1597 Variation 4 - Missing tie Added beat 1-2 77 Clarinet I 1597 Variation 4 - Staccato Editorial omission to match other articulation on last sixteenth parts 80 Clarinet I 1597 Variation 4 - Missing Added slur over whole measure 82 Clarinet I 1597 Variation 5 = material Switched Clarinet II from 1597 Variation 4 Horn I Horn II Bassoon I Bassoon II

88 Clarinet II 1597 Variation 5 - missing Added slur over whole measure 89 Clarinet I 1597 Variation 5 - missing Added Bassoon I slur over whole measure 93 Clarinet II 1597 Variation 5 - missing Added Bassoon I slur over whole measure 97 Clarinet I 1597 Variation 5 - missing Added thirty-second note appoggiatura to beat 1 97 Horn I 1597 Variation 5 - missing Added Horn I slur over whole measure

214 98 Oboe I Missing 'f' dynamic on first Added entrance in measure; missing A-Bb grace notes (above staff) to rest on downbeat 98 Oboe II Missing 'f' dynamic on first Added entrance in measure; missing A-Bb grace notes (in staff) to rest on downbeat 98 Clarinet II Missing 'f' on beat 1 Added Bassoon I 98 Horn I Slur over whole measure - Removed should be none 99 Oboe I Missing A-Bb grace notes Added (above staff) to rest on downbeat 99 Oboe II Missing A-Bb grace notes (in Added staff) to rest on downbeat 99 Clarinet I Eighth note appoggiatura to Changed beat 1 should be sixteenth note 100 Clarinet I Missing sixteenth note grace Added note pairs to beat 2 & 1 of next measure (E-F, F-G, respectively) 101 Horn I Missing slur over whole Added measure 102-103 Oboe I Missing A-Bb grace notes Added (above staff) to rest on downbeat 102-103 Oboe II Missing A-Bb grace notes (in Added staff) to rest on downbeat 103 Clarinet I Eighth note appoggiatura to Changed beat 1 should be sixteenth note 105 Oboe II Missing slur over whole Added Clarinet I measure Horn I Horn II 106 Oboe I Missing A-Bb grace notes Added (above staff) to rest on beat 2 and beat 1 of next measure 106 Oboe II Missing A-Bb grace notes (in Added staff) to rest on beat 2 and beat 1 of next measure 108 Oboe I Missing A-Bb grace notes Added (above staff) to rest on beat 2 and beat 1 of next measure

215 108 Oboe II Missing A-Bb grace notes (in Added staff) to rest on beat 2 and beat 1 of next measure 108 Clarinet I Beat 1 sixteenth notes slur Changed Clarinet II 2+2 - should be slur over group of four 109 Oboe I Beat 1 should be up octave, Changed beat 2 down octave 109 Clarinet I Missing trill on beat 1 Added 109 Clarinet II Eighth note appoggiatura to Added/Editorial omission of grace beat 1 should be sixteenth notes note; missing sixteenth note pair of grace notes to beat 2 (E-F top of staff) 109 Horn II Missing slur over whole Added measure 110 Oboe I Missing A-Bb grace notes Added (above staff) to rest on downbeat 110 Oboe II Missing A-Bb grace notes (in Added staff) to rest on downbeat 110 Clarinet I Eighth note appoggiatura to Changed beat 1 should be sixteenth note 112 Clarinet I Beat 2+ eighth note missing Added trill 113 Horn I Missing slur over whole Added Horn II measure

Movement III

Measure System Mus. Ms. 1571 Data Action Missing or Changed from Mus. Ms. 1597 1-4 Horn I 1597 horns double Clarinets Removed Horn II and Bassoons - 1571 no material for horns 3 Clarinet I Missing slur over last three Editorial addition - slur over whole Clarinet II eighth notes (in Horn II, measure Bassoon I Bassoon II 3 Bassoon II Missing slur over whole Added as part of editorial addition measure 6 Clarinet I Slurs over sixteenth note pair Changed on beat 2+ and beat 4 sixteenths - should be over whole measure

216 11 Oboe I Slur over beat 2-3 - should be Changed Bassoon I over whole measure 15 Clarinet I Missing slur over whole Added Clarinet I measure Bassoon I 16 Clarinet I Missing 'pp' dynamic Added marking on beat 3 17 Oboe I Missing 'pp' dynamic Added Clarinet II marking on beat 1 Bassoon I Bassoon II

19 Oboe II Missing 'pp' dynamic Added marking on beat 1 21-24 Horn I 1597 horns double Clarinets Removed Horn II and Bassoons - 1571 no material for horns 21 Clarinet I Missing slur over whole Added measure 23 Clarinet II Missing slur over last three Editorial addition - slur over whole Bassoon I eighth notes measure 26 Clarinet I Slurs over sixteenth note pair Changed on beat 2+ and beat 4 sixteenths - should be over whole measure 29-32 Clarinet I Missing slur over four Added Clarinet II measures Horn I Horn II 31-32 Oboe I Missing slur over two Added Oboe II measures 33 Horn I Missing slur over whole Added Horn II measure 24 Oboe I Missing slur over beat 1-2 Added eighth notes 35-38 Clarinet I Missing slur over four Added Clarinet II measures Horn I Horn II 37-38 Oboe I Missing slur over two Added Oboe II measures 39 Oboe II Trill on beat 3 - should be Removed none 39 Oboe II Missing slur over whole Editorial removal Clarinet I measure Horn I

217 39 Bassoon I Beat one dotted eighth- Changed Bassoon II sixteenth rhythm - should be two eighth notes 41 Oboe I Missing 'p' dynamic on beat 1 Added Oboe II Bassoon I Bassoon II

41-42 Oboe I Missing slur over two Added measures 42-44 Oboe II Missing slur over three Added measures 43 Clarinet I Missing 'p' dynamic on beat 1 Added Clarinet II 43-44 Clarinet I Missing slur over two Added Horn I measures Horn II 45 Oboe II Missing slur over beat 2-3 Editorial addition - slur over whole quarter notes measure 45 Clarinet I Missing slur over whole Added Horn I measure Horn II 47-48 Oboe I Missing slur over two Added Oboe II measures 49-50 All Missing crescendo wedge Added over two measures 49-50 Horn I Missing slur over two Added Horn II measures 51 Oboe II Missing slur over beat 2-3 Editorial removal Clarinet II quarter notes Horn I 51 Oboe II Trill Removed

Movement IV

Measure System Mus. Ms. 1571 Data Action Missing or Changed from Mus. Ms. 1597 1 Clarinet I Missing 'p' dynamic on beat Added Clarinet I 1; missing staccato articulation on last thirty- second note of measure 2 Clarinet I Missing slur over beat 1-first Added Clarinet II half of beat 2

218 3 Oboe I Missing 'p' dynamic on beat 1 Added Oboe II Horn I Horn II Bassoon I Bassoon II

3 Clarinet I Missing slur over beat 1 Added 3 Clarinet II Missing slur over beat 2 Added 3 Bassoon I Missing slur over whole Added measure 4 Oboe II Missing tie beat 1-2 Added Horn I Horn II Bassoon I Bassoon II

5 Clarinet I Missing slur over whole Added Clarinet II measure 6 Oboe II Missing slur over whole Added measure 6 Clarinet I Missing slur over beat 2 Added 7 Oboe II Missing slur over beat 2 Editorial removal Clarinet II 7 Clarinet I Sixteenth note sextuplet on Changed beat 1 - should be two sixteenth note triplets; beat 2 dotted eighth-sixteenth rhythm - should be eighth notes 7 Bassoon I Missing tie beat 1-2 Added 8 Oboe I Missing slur over whole Added Clarinet I measure Horn I Horn II 8 Bassoon I Missing tie beat 1-2 Added 9-10 Oboe I 1597 rests - should be Added Oboe II Clarinet & Clarinet II up octave, respectively 10 Clarinet I Missing slur over beat 1 Added Clarinet II 10 Clarinet II Sixteenth note appoggiatura Changed to beat 1 - should be eighth note 10 Bassoon II Missing tie beat 1-2 Added

219 11 Oboe I Slur over all beat four Changed sixteenth notes - should be staccato one, slur three 11 Clarinet I Slur over sixteenth note Removed triplet on beat 1+ - should be no slur 11 Clarinet II Staccato on first sixteenth Removed note of beat 2 - should be none 11 Horn I Missing slur over last three Added Horn II sixteenth notes of beat 2 11 Horn II Missing 'p' dynamic on beat 1 Added 11 Bassoon I Slur over beat 2 - should be Editorial change - slur last three slur over whole measure sixteenths of beat 2 to match other parts 11 Bassoon II Slur over beat 2 - should be Changed slur over whole measure 12 Horn II Missing slur over whole Added measure 12 Bassoon II Missing tie beat 1-2 Added

13 Clarinet I Missing slur over beat 1-2; Added Clarinet II missing staccato articulation on last thirty-second of measure 14 Clarinet II Missing slur over beat 1 Added 15 Clarinet I Sixteenth note appoggiatura Changed Clarinet II to beat 2 - should be thirty- second note 15 Clarinet II Missing slur over beat 2 Added 16 Horn I Missing slur over whole Added Horn II measure

Movement V

Measure System Mus. Ms. 1571 Data Action Missing or Changed from Mus. Ms. 1597 2 Clarinet I Missing slur over beat 1 Added Clarinet II 2 Clarinet II Misaligned 'f' dynamic - is on Changed beat one of measure 3 - should be on last eighth note of measure 2 3 Oboe I Dotted quarter notes with Changed slashes - should be written 220 out eighth notes

3 Clarinet I Dotted quarter notes with Changed Clarinet II slashes - should be written Bassoon I out eighth notes Bassoon II

3 Horn I Missing 'f' dynamic on beat 1 Added Bassoon I 4 Oboe I Slur over beat 1 eighth notes - Changed Clarinet I should be slur two, staccato Clarinet II one 4 Oboe II Rhythm is dotted quarter Changed note, quarter note, quarter rest - should be three eighth notes, quarter note 4 Horn I Missing slur beat 1-2 Added 4 Bassoon I Dotted quarter notes with Changed Bassoon I slashes - should be written out eighth notes 4 Clarinet I Missing 'p' dynamic on last Added eighth note of measure 5 Clarinet I Missing slur over beat 1 Added Clarinet II 5 Clarinet II Appoggiatura eighth note Changed should be sixteenth note 5 Oboe I Missing 'f' dynamic on last Added Clarinet I eighth note of measure 7 Oboe II Missing 'f' dynamic on first Added Horn I entrance in measure Horn II Bassoon I Bassoon II

7 Clarinet I Missing slur over last five Added Clarinet II eighth notes in measure 7 Bassoon II Dotted quarter notes with Changed slashes - should be written out eighth notes 8 Clarinet I Missing 'p' dynamic on last Added Clarinet II eighth note of measure 8 Bassoon II Dotted quarter notes with Changed slashes - should be written out eighth notes 9 Horn I Missing 'p' dynamic on beat 1 Added 9 Bassoon II Missing slur to next measure Added

221 10 Horn I Missing tie across bar line Added Horn II Bassoon I 11 Bassoon II Missing slur to next measure Added

12 Horn I Missing tie across bar line Added Horn II Bassoon I 13 Oboe I Missing 'p' dynamic on beat Added 1; missing tie across bar line 15 Oboe I Dotted quarter notes with Changed Oboe II slashes - should be dotted half Bassoon I note with slash 15 Oboe I Missing 'f' dynamic on beat 1 Added Oboe II Bassoon II

15-16 Oboe I Missing articulation dots (6) Omitted Oboe II over dotted half note with slash 17 Clarinet II Missing articulation dots (6) Omitted over dotted half note with slash 19 Clarinet I Missing 'p' dynamic on beat 1 Added 19-20 Clarinet I Missing staccato articulation Added on beat 1 19 Clarinet I Beat 1 dotted quarter note - Changed should be quarter note 20 Clarinet II Missing 'p' dynamic on last Added eighth note of measure 21 Clarinet I Missing slur over beat 1 Added 22 Clarinet I Misaligned 'f' dynamic - is on Changed beat one of measure 23 - should be on last eighth note of measure 22 22 Clarinet II Missing 'f' dynamic on last Added eighth note of measure 23 Oboe I Missing slur over whole Added measure 23 Oboe II Rhythm two dotted quarter Changed notes - should be one dotted half note 23 Clarinet I Dotted quarter notes with Changed Clarinet II slashes - should be written Bassoon II out eighth notes

222 23 Bassoon II Dotted quarter with slash on Changed beat 2 is written Bb in staff - should be D in staff 24 Clarinet I Missing articulation on beat 1 Added Clarinet II eighth notes - should be slur two, staccato 1 24 Clarinet I Missing 'p' dynamic on last Added Clarinet II eighth note of measure 24 Bassoon I Dotted quarter note with Changed Bassoon II slashes - should be written out eighth notes 25 Clarinet I Missing slur over beat 1 Added 26 Clarinet II Missing slur over beat 1 Added 26 Clarinet I Missing 'f' dynamic on last Added Clarinet II eighth note of measure 27 Oboe I Missing 'f' dynamic on beat 1 Added Oboe II Horn II Bassoon I Bassoon II

27 Clarinet II Missing slur over last five Added eighth notes in measure 27 Bassoon I Dotted quarter notes with Changed Bassoon II slashes - should be written out eighth notes 28 Oboe I Dotted quarter notes with Changed Clarinet II slashes - should be written Bassoon I out eighth notes Bassoon II

29 All Modulation in music to g Added minor - missing key signature change 29-31 Oboe I Sixteenth note grace notes - Changed should be thirty-second notes 29 Clarinet I Missing 'p' dynamic on beat 1 Added Clarinet II Bassoon I Bassoon II

32 Oboe I Eighth note grace note - Changed should be sixteenth note 33-35 Oboe I Sixteenth note grace notes - Changed should be thirty-second notes

223 36 Oboe I Quarter note on beat 1 - Added/Editorial omission should be dotted quarter; rest on beat 2 - should be eighth note w/ two eighth rests 36 Clarinet I Missing 'p' dynamic on last Added Clarinet II eighth note of measure 37-43 Oboe I Sixteenth note grace notes - Changed/Added should be thirty-second notes; Missing slurs over grace notes 37-40 Oboe II Missing thirty-second note Added grace notes (same material as Oboe I, down octave) 37 Horn I Missing 'p' dynamic on beat 1 Added Horn II 37 Horn II Missing tie across bar line Added 45 All Modulation to Eb Major - Added missing key signature change 45 Clarinet I Dotted half note with slash - Retained as dotted half note with Bassoon I should be written out eighth slash to match other parts notes 45 Oboe I Missing articulation dots (6) Omitted Oboe II over dotted half note with slash 45 Oboe II Missing 'f' dynamic on beat 1 Added Horn I Horn II Bassoon II

45-46 Horn I Missing tie across bar line Added Horn II 46-47 Oboe I Dotted quarter notes with Changed Oboe II slashes - should be written Bassoon I out eighth notes Bassoon II

46-47 Clarinet I Dotted quarter notes with Removed Clarinet II slashes - should be no slashes 49 Oboe I Missing 'p' dynamic on beat 1 Added 50 Oboe I Dotted quarter notes with Changed Oboe II slashes - should be written Clarinet I out eighth notes Clarinet II Bassoon I Bassoon II

224 52 Oboe I Dotted quarter notes with Changed Oboe II slashes - should be written Clarinet I out eighth notes Clarinet II Bassoon I Bassoon II

53 Clarinet II Missing 'p' dynamic on beat 1 Added Bassoon II

54 Oboe I Missing 'f' dynamic on beat 1 Added Clarinet II Bassoon II

54 Oboe I Missing articulation dots (6) Omitted Oboe II over dotted half note with slash 54-55 Clarinet I Half note with slash - should Editorial change be written out eighth notes 55 Bassoon I Missing 'f' dynamic on beat 1 Added Bassoon I 56 Oboe I Dotted quarter notes with Changed Oboe II slashes - should be written Clarinet II out eighth notes 57 Oboe I Dotted quarter notes with Changed Oboe II slashes - should be written Clarinet I out eighth notes 58 Clarinet II Missing 'p' dynamic on beat 1 Added 59 Oboe I Missing 'p' dynamic on beat Added/Changed/Omitted 1; two dotted quarter notes with slashes - should be dotted half with slash; missing articulation dots (6) 59 Oboe II Missing articulation dots (6) Omitted over dotted half note with slash 59-76 Clarinet II Missing courtesy measure Added count numbers (1-18) 61 Oboe I Missing articulation dots (6) Omitted Oboe II over dotted half note with slash 63 Clarinet I Dotted half note with slash - Editorial omission Bassoon I should be written out eighth notes 63 Bassoon I 'f' dynamic - should be 'p' Changed 65 Oboe I Missing articulation dots (6) Omitted Oboe II over dotted half note with 225 slash

65 Oboe II Missing 'p' dynamic on beat 1 Added 67 Clarinet I Missing articulation dots (6) Omitted over dotted half note with slash 69 Oboe I Missing articulation dots (6) Omitted Oboe II over dotted half note with slash 70 Clarinet I Dotted quarter note with slash Changed - should be written out eighth notes 71 Oboe I Dotted quarter note with slash Changed Oboe II - should be written out eighth notes 72 Clarinet I Dotted quarter note with slash Changed - should be written out eighth notes 73 Oboe I Dotted quarter note with slash Changed Oboe II - should be written out eighth notes 74 Oboe I Dotted quarter note with slash Changed Oboe II - should be written out eighth Clarinet I notes Bassoon I Bassoon II

74 Clarinet I Missing 'p' dynamic on beat 2 Added Horn II Bassoon I 75-76 Oboe II Dotted quarter note with slash Changed Clarinet I - should be written out eighth Bassoon I notes 77 Clarinet II Misaligned 'f' dynamic - is on Changed beat one of measure 78 - should be on last eighth note of measure 77 79 Oboe II Missing 'f' dynamic on last Added eighth note of measure 79 Clarinet I Missing slur over beat 1 Added Clarinet II 80 Oboe I Dotted quarter notes with Changed Clarinet I slashes - should be written Bassoon I out eighth notes Bassoon II

80 Horn I Missing 'f' dynamic on beat 1 Added 226 81 Oboe II Dotted quarter note on beat 1 Changed should be written out eighth notes 81 Clarinet I Slur over beat 1 eighth notes - Changed Clarinet II should be slur two, staccato one 82 Clarinet II Missing slur over beat 1 Added 83 Clarinet I Missing slur over beat 1 Added Clarinet II 83 Clarinet I Missing 'f' dynamic on last Added eighth note of measure 84 Oboe I Missing 'f' dynamic on first Added Oboe II entrance in measure Horn I Horn II Bassoon I Bassoon II

84 Clarinet I Missing slur over last five Added Clarinet II eighth notes in measure 84 Horn I Two dotted quarter notes on Changed written D in staff - should be written C, G in staff 84-85 Bassoon II Dotted quarter notes with Changed slashes - should be written out eighth notes 85 Clarinet I Missing 'p' dynamic on last Added eighth note of measure 86 Horn I Missing 'p' dynamic on beat 1 Added 86 Bassoon I Missing slur to next measure Added 87 Horn I Missing tie across bar line Added Bassoon I 88 Bassoon II Missing slur to next measure Added

89 Horn I Missing tie across bar line Added Horn II 90 Oboe I Missing 'p' dynamic on beat 1 Added 92 Oboe I Missing 'f' dynamic on beat 1 Added Oboe II Bassoon II

92 Oboe I Dotted quarter notes with Changed/Omitted Oboe II slashes - should be dotted half Bassoon II note with slash; missing articulation dots (6) 92 Clarinet I Dotted quarter notes with Retained as dotted quarter notes w/ Clarinet II slashes - should be written slashes 227 out eighth notes

93 Oboe I Missing articulation dots (6) Omitted Oboe II over dotted half note with slash 94 Clarinet I Dotted quarter with slash on Changed beat 2 - should be written out eighth notes 94 Clarinet II Dotted half note with slash - Changed should be written out eighth notes 96 Clarinet I Missing 'p' dynamic on beat 1 Added 98 Clarinet I Missing slur over beat 1 Added 99 Clarinet I Misaligned 'f' dynamic - is on Changed Clarinet II beat one of measure 100 - should be on last eighth note of measure 99 100 Oboe I Missing slur over whole Added measure 100 Oboe II Two dotted quarter notes in Changed measure - should be dotted half note 100 Clarinet I Dotted quarter notes with Changed Clarinet II slashes - should be written Bassoon II out eighth notes

100 Oboe I Missing 'f' dynamic on beat 1 Added Oboe II Horn I Horn II Bassoon I Bassoon II

100 Clarinet I Missing 'p' dynamic on last Added Clarinet II eighth note of measure 101 Clarinet I Missing articulation on beat 1 Added Clarinet II eighth notes - should be slur two, staccato 1 103 Clarinet II Missing slur over beat 2 Added 104 Oboe I Missing 'f' dynamic on beat 1 Added Oboe II Horn I Horn II Bassoon I Bassoon II 104 Clarinet I Missing slur over last five Added Clarinet II eighth notes in measure 228 104 Oboe I Missing 'f' dynamic on beat 1 Oboe II Horn I Horn I Bassoon I Bassoon II

104-105 Bassoon I Dotted quarter notes with Changed Bassoon II slashes - should be written out eighth notes 105 Oboe I Dotted quarter note with slash Changed Clarinet II - should be written out eighth Bassoon I notes Bassoon II

106 Oboe I Slur over beat 1 - unclear in Slur over beat 1 - matches Bassoon I 1597 106 Oboe I Missing 'p' dynamic on beat 1 Added Clarinet I Clarinet II Bassoon I 106-121 Clarinet I Dotted quarter notes with Changed Clarinet II slashes - should be written Bassoon II out eighth notes

107 Oboe I Slur over beat 1 - unclear in Slur over beat 1 - matches Bassoon I 1597 109 Oboe I Missing slur over whole Added Bassoon I measure 110 Oboe I Missing slur over whole Added measure 111 Oboe I Missing slur over beat 1 Added 112 Oboe I Missing slur over whole Added measure 112 Bassoon I Missing slur over beat 1 Editorial change - slur over whole measure to match Oboe I 114 Horn I Missing 'p' dynamic on beat 1 Added Horn II 115 Horn I Missing tie across bar line Added 116 Bassoon I Slur over beat 1 - should be Editorial change - slur over whole slur two, tongue one beat to match Oboe I 116 Horn I Missing tie across bar line Added Horn II 117 Bassoon I Missing slur over whole Added measure 118-119 Oboe I Missing slur over whole Added

229 measure 118 Horn I Missing tie across bar line Added 118-119 Bassoon I Missing slur over beat 1 Editorial change - slur over whole measure to match Oboe I 122 Clarinet I Missing 'p' dynamic on beat 1 Added Clarinet II Bassoon I 122-129 Clarinet I Missing articulation dots (6) Omitted over dotted half note with slash 126-129 Oboe I Half note with slash - should Changed be no slash 126 Oboe I Missing 'f' dynamic on beat 1 Added Clarinet I 130 Oboe I Two dotted quarter notes in Changed/Omitted measure - should be dotted half note w/ slash and articulation dots (6) 130-133 Oboe II Missing slashes on dotted Added half notes 130 Clarinet I Dotted quarter with slash on Changed beat 2 - should be written out eighth notes 131-133 Clarinet I Missing slashes on dotted Added half notes 133 Horn I Missing tie across bar line Added 135 Oboe I Missing 'p' dynamic on beat 1 Added 135-141 Clarinet I Slash on dotted quarter note - Removed Clarinet II should be no slash Bassoon I Bassoon II

135 Horn I Missing slur to next measure Added 137 Horn I Missing slur to next measure Added 139-141 Oboe I Missing slur over three Editorial change - slur beat 2-1 in measures each measure to match other voices

139-142 Clarinet I Missing slur beat 2-1 in each Added Clarinet II measure Horn I Bassoon I Bassoon II

144 Clarinet I Missing slur over beat 1 Added 144 Clarinet I Missing 'f' dynamic on last Added eighth note of measure

230 144 Oboe I Misaligned 'f' dynamic - is on Changed Clarinet II beat one of measure 145 - should be on last eighth note of measure 144 145 Horn I Missing 'f' dynamic on beat 1 Added 145 Oboe I Dotted quarter note with Changed Clarinet I slashes - should be written Clarinet II out eighth notes Bassoon I Bassoon II

146 Oboe II Missing slash on dotted Editorial change - write out eighth quarter note notes 146 Clarinet I Slur over beat 1 - should be Changed Clarinet II slur two, tongue one 145-146 Bassoon I Dotted quarter notes with Changed Bassoon II slashes - should be written out eighth notes 146 Clarinet I Missing 'p' dynamic on last Added eighth note of measure 148 Oboe I Missing 'f' dynamic on last Added Clarinet I eighth note of measure 149 Clarinet I Missing slur over last five Added Clarinet II eighth notes in measure 149 Oboe I Missing 'f' dynamic on first Added Horn I entrance in measure Horn II Bassoon I Bassoon II

149 Horn I Two dotted quarter notes on Changed written D in staff - should be written C, G in staff 149-150 Bassoon II Dotted quarter notes with Changed slashes - should be written out eighth notes 150 Clarinet I Missing 'p' dynamic on last Added eighth note of measure 151 Horn I Missing 'p' dynamic on beat 1 Added 151 Bassoon II Missing slur to next measure Added

152 Horn I Missing tie across bar line Added Horn II Bassoon I 153 Bassoon II Missing slur to next measure Added

231 154 Horn I Missing tie across bar line Added Horn II Bassoon I 155 Oboe I Missing tie across bar line; Added missing 'p' dynamic on beat 1 157 Oboe I Missing 'f' dynamic on beat 1 Added Bassoon II

157 Oboe I Two dotted quarter notes in Changed/Omitted Oboe II measure - should be dotted half note w/ slash and articulation dots (6) 157 Clarinet I Dotted quarter notes with Changed Clarinet II slashes - should be written out eighth notes 157 Bassoon I Two dotted quarter notes in Changed measure - should be dotted half note w/ slash 158 Oboe I Missing articulation dots (6) Omitted Oboe II over dotted half note with slash 158 Clarinet I Dotted quarter notes with Changed Clarinet II slashes - should be written out eighth notes 159 Clarinet I Dotted quarter with slash on Changed beat 2 - should be written out eighth notes 159 Clarinet II Missing slash on dotted half Changed/Omitted/Editorial Change - note; missing articulation dots Write out eighth notes to match (6) other voices 160 Clarinet I Missing 'p' dynamic on beat Added 1; missing staccato articulation 162 Clarinet I Missing staccato articulation Added 162 Clarinet II Staccato on last eighth note of Removed measure - should be none 163 Clarinet I Missing slur over beat 1 Added 165 Clarinet I Misaligned 'f' dynamic - is on Changed beat one of measure 165 - should be on last eighth note of measure 164 165 Oboe I Missing 'f' dynamic on beat 1 Added Horn I Horn II Bassoon I Bassoon II

232 165 Clarinet I Dotted quarter notes with Changed Bassoon I slashes - should be written Bassoon II out eighth notes

165 Bassoon II Dotted quarter note on beat 2 Changed is written Bb in staff - should be written D in staff 165 Oboe I Missing slur over whole Added measure 166 Clarinet I Missing articulation on beat 1 Added eighth notes - should be slur two, staccato 1 166 Bassoon I Dotted quarter notes with Added Bassoon I slashes - should be written out eighth notes 166 Clarinet I Missing 'p' dynamic on last Added eighth note of measure 166 Clarinet II Misaligned 'p' dynamic - is on Changed beat one of measure 167 - should be on last eighth note of measure 166 167 Clarinet I Missing slur over beat 1 Added 168 Clarinet I Missing 'f' dynamic on last Added Clarinet II eighth note of measure 169 Oboe I Missing 'f' dynamic on beat 1 Added Oboe II Horn I Horn II Bassoon I Bassoon II 169 Oboe I Missing slur over last five Added Clarinet I eighth notes in measure Clarinet II 170 Oboe I Dotted quarter notes with Changed Clarinet II slashes - should be written Bassoon I out eighth notes Bassoon II

170 Bassoon I "Solo" marking in 1597 - not Omitted/Changed in 1571; quarter note on beat 2 - should be eighth note 171 All Modulation to Bb Major - no Added key signature change 171 Clarinet II Missing 'p' dynamic on beat 1 Added Bassoon II

233 174 Clarinet I Beat one quarter note C in Changed staff - should be B natural 178.6- Clarinet I Melodic material from Changed 186.1 1571Oboe I in 1579 Clarinet I 186 Clarinet II 1571 - In staff E-G-E-C on Changed first four eighth notes; 1597 - In staff G quarter note 187 All Modulation to Eb Major - Added missing key signature change 187-188 Clarinet I Missing slur over beat 1 Added 188 Oboe I Missing 'f' dynamic on last Added eighth note of measure 189 Oboe I Dotted quarter notes with Changed Clarinet I slashes - should be written Clarinet II out eighth notes Bassoon I Bassoon II

189 Bassoon I Missing 'f' dynamic on beat 1 Added Bassoon II

190 Oboe II Missing slash on dotted Added quarter note 190 Oboe II Dotted quarter notes with Added Bassoon I slashes - should be written Bassoon II out eighth notes

190 Clarinet II Missing articulation on beat 1 Added eighth notes - should be slur two, staccato 1 190 Horn I Missing slur over whole Added measure 190 Clarinet II Misaligned 'p' dynamic - is on Changed beat one of measure 191 - should be on last eighth note of measure 190 191-192 Clarinet I Missing slur over beat 1 Added 192 Clarinet II Appoggiatura eighth note Changed should be sixteenth note 192 Oboe I Missing 'f' dynamic on last Added Clarinet II eighth note of measure 193 Oboe I Missing slur over last five Added eighth notes in measure

234 193 Oboe II Missing 'f' dynamic on beat 1 Added Horn I Horn II Bassoon I Bassoon II

193 Horn I Two dotted quarter notes on Changed written D in staff - should be written C, G in staff 193-194 Bassoon II Dotted quarter notes with Changed slashes - should be written out eighth notes 195 Bassoon II Missing slur to next measure Added

196 Horn II Missing tie across bar line Added Bassoon II

197 Horn I Missing tie across bar line Added 197 Bassoon II Missing slur to next measure Added

198 Horn II Missing tie across bar line Added Bassoon II

199 Oboe I Missing 'p' dynamic on beat Added 1; missing tie across bar line 201 Oboe I Missing 'f' dynamic on beat 1 Added Oboe II Clarinet I Horn I Bassoon I Bassoon II

201 Oboe I Dotted quarter notes with Changed/Omitted Oboe II slashes - should be dotted half note with slash; missing articulation dots (6) 201-202 Clarinet I Dotted quarter notes with Changed Clarinet II slashes - should be written out eighth notes 201 Bassoon I Dotted quarter notes with Changed slashes - should be dotted half note with slash 203 Clarinet I Dotted quarter note with slash Changed - should be written out eighth notes

235 203 Clarinet II Dotted half note with slash - Added/Omitted should be written out eighth notes; missing articulation dots (6) 206 Clarinet I 'p' dynamic on last eighth Omitted note of measure - should be none 208 Clarinet I Misaligned 'f' dynamic - is on Changed Clarinet II beat one of measure 209 - should be on last eighth note of measure 208 209 Oboe I Missing 'f' dynamic on beat 1 Added Oboe II Horn I Horn I Bassoon I Bassoon II

209 Oboe I Missing slur over whole Added measure 209 Oboe II Two dotted quarter notes in Changed measure - should be dotted half note 209 Clarinet I Dotted quarter notes with Changed Clarinet II slashes - should be written Bassoon II out eighth notes

209 Bassoon II Dotted quarter with slash on Changed beat 2 is written Bb in staff - should be D in staff 210 Oboe I Missing slur over whole Added measure 210 Clarinet I Slur over beat 1 - should be Changed slur two, staccato one 210 Clarinet II Missing articulation on beat 1 Added eighth notes - should be slur two, staccato one; Misaligned 'p' dynamic - is on beat one of measure 211 - should be on last eighth note of measure 210 210 Bassoon I Dotted quarter notes with Added Bassoon II slashes - should be written out eighth notes 212 Clarinet I Missing 'f' dynamic on last Added Clarinet II eighth note of measure

236 213 Oboe I Missing 'f' dynamic on beat 1 Added Oboe II Horn I Horn I Bassoon I Bassoon II

213 Oboe I Missing slur over last five Added Clarinet I eighth notes in measure Clarinet II 213 Bassoon I Dotted quarter notes with Changed Bassoon II slashes - should be written out eighth notes 214 Clarinet II Quarter note on beat 1 - Changed should be six eighth notes in measure 214 Clarinet I Missing 'p' dynamic on beat 1 Added Bassoon I 214-229 Clarinet I Missing courtesy measure Added Bassoon I count numbers (1-16) 215 Oboe I Slur over whole measure - Changed should be over two measures 215-216 215 Oboe I Missing slur to next measure Added 217 Oboe I Missing slur to next measure Added Oboe II 219-220 Clarinet I Missing slur over two Added Bassoon II measures

220 Clarinet I Slur over whole measure - Removed should be over two measures - 219-220 223 Oboe I Missing 'p' dynamic on beat 1 Added Oboe II 223 Oboe I Slur over whole measure - Changed should be over two measures - 223-224 223 Oboe II Missing slur to next measure Added 223 Horn I Missing tie across bar line Added 225 Oboe I Missing slur over two Added Oboe II measures 225 Horn I Missing tie across bar line Added 227-228 Clarinet I Missing slur over two Added Bassoon II measures

229 Clarinet I Missing slur over whole Added measure 237 229 Bassoon II Missing slur from beat 1 Editorial change - slur over whole dotted quarter note to beat measure to match Clarinet I two quarter note 230 Oboe I Missing 'f' dynamic on beat 1 Added Clarinet I Bassoon II

230-233 Clarinet I Appoggiatura eighth note Changed should be sixteenth note 231 Bassoon II Beat 1 quarter note Bb top of Changed staff should be Bb octave below in staff 234 Clarinet II Missing slur to next measure Added Bassoon II

236 Clarinet II Missing slur to next measure Added Bassoon II

237 Oboe I Missing tie across bar line Added 239 Horn II Missing tie across bar line Added 240-242 Clarinet I Dotted quarter notes with Changed Clarinet II slashes - should be written out eighth notes 240-243 Bassoon I Dotted quarter notes with Changed Bassoon II slashes - should be written out eighth notes 243 Clarinet I Dotted quarter notes with Removed slashes - should be no slashes 244 Oboe I Missing 'f' dynamic on beat 1 Added Oboe II 244-245 Oboe I Missing articulation dots (6) Omitted over dotted half note with slash 245 Clarinet I Missing grace notes to beat 1 Added of 246 - sixteenth note pair, F, G top of staff with slur 248 Oboe I Dotted quarter notes with Changed Oboe II slashes - should be written out eighth notes 248 Clarinet II Dotted quarter notes with Removed slashes - should be no slashes 250 Oboe I Dotted quarter notes with Changed Oboe II slashes - should be written out eighth notes 250 Clarinet I Missing 'f' dynamic on beat 1 Added 251 Oboe I Missing 'p' dynamic on beat 1 Added

238 252 Oboe I Dotted quarter notes with Changed Oboe II slashes - should be written Clarinet I out eighth notes Clarinet II Bassoon I Bassoon II

252 Oboe I Missing 'f' dynamic on beat 1 Added Horn I Horn II 253 Oboe I Missing 'p' dynamic on beat 1 Added 254 Oboe I Dotted quarter notes with Changed Oboe II slashes - should be written Clarinet I out eighth notes Clarinet II Bassoon I Bassoon II

254 Oboe I Missing 'f' dynamic on beat 1 Added Horn I Horn II 255 Oboe I Missing 'p' dynamic on beat 1 Added Oboe II Bassoon II

256 Bassoon I Missing 'f' dynamic on beat 1 Added Bassoon II

256-259 Oboe I Missing articulation dots (6) Omitted Clarinet I over dotted half note with slash 257 Horn I Missing 'f' dynamic on beat 1 Added 258 Bassoon II Dotted half note Bb top of Changed staff should be Bb octave below in staff 261 Horn I Missing 'p' dynamic on beat 2 Added Bassoon I Bassoon II

261-267 Bassoon II Quarter notes on beat 2 - Changed should be dotted quarters 261-279 Oboe I Missing staccato articulation Added Oboe II on all quarter notes Clarinet I Clarinet II Horn I Horn II 239 269-275 Bassoon II Quarter notes on beat 2 - Changed should be dotted quarters 277 Clarinet I Missing 'pp' dynamic on first Added Clarinet II entrance in measure Horn II Bassoon I Bassoon II

277 Horn I 'p' dynamic marking on beat 2 Changed - should be 'pp' 279 Bassoon II Misaligned 'f' dynamic - is on Changed beat 2 of measure 279 - should be on beat 1 of measure 280 280-287 Oboe I Dotted quarter notes with Changed Oboe II slashes - should be written out eighth notes 280-283 Bassoon I Dotted quarter notes with Changed Bassoon I slashes - should be written out eighth notes 288-292 Oboe I Missing articulation dots (6) Omitted over dotted half note with slash 292-299 Bassoon I Missing courtesy measure Added count numbers 293 Oboe I Dotted quarter notes with Changed Oboe II slashes - should be written out eighth notes 294 Horn I Missing tie across bar line Added 295 Oboe I Dotted quarter notes with Changed Oboe II slashes - should be written out eighth notes 297-301 Oboe I Dotted quarter notes with Changed Oboe II slashes - should be written out eighth notes 300-301 Clarinet II Dotted quarter notes with Changed Bassoon I slashes - should be written Bassoon II out eighth notes

240

Appendix D: Comparison of the Critical Edition of the Don Mus. Ms. 1571 Wind Arrangement and the Critical Edition of the Symphonie Concertante from the 1792 Imbault Parts

Movement I

Measure Structural Critical Edition Critical Edition of Comparison Element for Harmonie Original

1-8 Theme I, first Clarinet I in Violin I in alternation Tessitura & statement alternation with with Violas texture identical; Horn I Violin I not doubled 8vb; no articulation in symphonie concertante

8-15 Theme I, Horn I in Cello in alternation with Tessitura & second alternation with Violins and Violas texture identical; statement Oboes and articulations Clarinets inconsistent in symphonie concertante (some parts with strokes, some not – Harmonie more internally consistent)

19-23 Concertante Oboe and Bassoon Oboe and Viola I duet Tessitura & passagework duet texture identical; articulation varies by slur grouping

241 24-27 Concertante Oboe I in one Oboe in one measure Tessitura & passagework measure alternation with Violin I texture identical; alternation with articulation Clarinet I varies by slur grouping and staccatos in Harmonie arrangerment not in symphonie concertante

28-30 Concertante Oboe and Bassoon Oboe and Viola I duet Tessitura & passagework duet texture identical; articulation varies by slur grouping

31-36 Concertante Clarinet I (triplet Violin I (triplet figure) Tessitura, passagework figure) texture, articulation identical

37-44 Theme II, first Clarinets Viola I and Cello duet Clarinet I = Cello statement line 8va; Clarinet II = Viola I line at same pitch level - this switch of lines puts the melodic voice (Cello) on top with the accompanimental voice (Viola I) a sixth below rather than a third above; slurs vary by grouping, staccatos identical

44-51 Theme II, Oboes and Violin I and Oboe duet Tessitura second Clarinets (measures 44-47), Viola I identical; texture statement adds in measure 48-50) doubled in Harmonie; articulation varies by slur grouping

242 51-66 Concertante Bassoon I Viola I Bassoon I passagework concertante passagework 8vb, measures 52, 54 different pitch material

66-68 Concertante Oboe I Violin I Tessitura, passagework texture, articulation identical; missing decrescendo wedges in Horns in 66 & 67

68-71 Extension/ Tutti Tutti Tessitura & Transition texture identical; articulations inconsistent in symphonie concertante and differ from Harmonie arrangement

71-84 Concertante Clarinet I Violin I Tessitura & passagework texture identical; articulations inconsistent in symphonie concertante and differ from Harmonie arrangement

84-101 Codetta Tutti Tutti Tessitura & texture identical; no articulations in symphonie concertante, pervasive use of staccato in Harmonie

101-104 Theme III, Oboe I Oboe I Tessitura & first phrase texture identical; articulation varies by slur 243 grouping

105-108 Theme III, Bassoon I Viola I Bassoon I 8vb second phrase from Viola I; Texture identical; articulations vary by slur

108-111 Concertante Oboe I, Clarinet I, Violin I, Viola II, Cello, Tessitura & passagework Bassoon, I, Viola I, Violin II - each texture identical; Bassoon II, have one measure eighth notes Clarinet II - each ascending Bb major scale missing staccatos have one measure ascending Bb major scale

113-116 Modulatory Tutti Tutti Bassoon I eighth transition notes 8vb from Violas in symphonie concertante; texture & articulation identical

117-120 Theme III, c Oboe I in Cello in alternation with Oboe I melody minor alternation with Oboe 8va from Clarinet I symphonie concertante, Clarinet I identical; texture identical; articulation varies by slur grouping

121-133 Concertante Oboes in c minor Viola I and Cello duet Oboe duet 8va passagework from Viola I in symphonie concertante; texture identical; articulation varies by slur

244 133-138 Extension/ Tutti Tutti Tessitura & Transition texture identical; articulations inconsistent in symphonie concertante and differ from Harmonie arrangement

138-141 Concertante Oboe I Violin I Tessitura, passagework texture, articulation identical

141-148 Concertante Clarinet I Violin I Tessitura, passagework texture, articulation identical

149-156 Retransition Tutti Tutti Tessitura & texture identical; articulation varies by slur grouping and staccatos

157-164 Theme I, first Clarinet I in Violin I in alternation Tessitura & statement alternation with with Violas texture identical; Horn I Violin I not doubled 8vb; no articulation in symphonie concertante

164-171 Theme I, Horn I in Cello in alternation with Tessitura & second alternation with Violins and Violas texture identical; statement Oboes and articulations Clarinets inconsistent in symphonie concertante (some parts with strokes, some not - Harmonie more internally consistent)

245 171-177 Extension Tutti; melody in Tutti; Melody in Violin I Tessitura & Clarinet I texture identical; articulation varies by slur grouping

178-185 Theme II, first Clarinets Viola duet Tessitura & statement texture identical; articulation varies by slur grouping

185-192 Theme II, Oboes and Violin I and Oboe duet Tessitura second Clarinets identical; texture statement doubled in Harmonie; articulation varies by slur grouping

192-196 Concertante Clarinet II & Viola I in alternation Tessitura & passagework Bassoon II in with Violin I & Cello texture identical; alternation with articulation Clarinet I & varies by slur Bassoon I with grouping; one measure duets different pitch material (same pattern from m. 51, this time in Eb) in measures 192& 194

196-198 Extension Tutti Tutti Tessitura & texture identical; articulation varies by slur grouping; Alberti figures in Viola I extend a m10 vs. the m6 in Clarinet II

198-206 Concertante Clarinet I Viola I Clarinet I 8va passagework Viola I passagework; texture identical; articulations vary by slur grouping

246 206-208 Concertante Oboe I Violin I Tessitura & passagework texture identical; articulation varies by slur grouping and staccatos; rhythmically simpler accompaniment - no repeated sixteenth notes in Harmonie

208-213 Extension/ Tutti Tutti Oboe I melody Transition 8va above Violin I; texture identical; articulations vary by slur grouping; additional rf and fz

213-218 Concertante Bassoon I Violin I Bassoon I is two passagework octaves below Violin I; texture identical; articulations vary by slur grouping

218-225 Concertante Clarinet I Violin I Clarinet I 8va passagework Violin I; texture identical; articulation varies by strokes and slur groupings

225-243 Coda Tutti Tutti Tessitura & texture identical; articulation varies by slur grouping and staccatos

Movement II

247 Measure Structural Critical Edition Critical Edition of Comparison Element for Harmonie Original

1-8 Theme, first Clarinets; Horns Strings only; Violin I and Tessitura phrase and Bassoons Viola I duet identical; texture accompaniment missing horns; articulation - Harmonie missing slurs and staccatos; grace notes in lead string voices are sixteenths in Harmonie

9-16 Theme, Clarinets; Horns Strings only; Violin I and Tessitura second phrase and Bassoons Viola I duet identical; texture accompaniment missing horns; articulation - Harmonie missing slurs and strokes; grace notes in lead string voices are sixteenths in Harmonie; missing Violin I trill in measure 12 beat 1 in Clarinet I

17-32 Variation I Clarinet I; Oboe; Violin I with Tessitura, Clarinet II with sixteenth note Alberti texture, sixteenth note accompaniment; tutti articulation Alberti strings pizzicato identical accompaniment, all instruments in

248 33-48 Variation II Bassoon I; Viola I; String Tessitura Clarinets, Horns, accompaniment only identical; texture Bassoon II missing horns; accompaniment articulations slightly different in Harmonie; m. 41-43 melody in symphonie concertante different and more difficult than Harmonie setting; Horn parts are newly composed in Harmonie

49-64 Variation III Oboe I; Clarinets, Violin I; string only Tessitura Horns, Bassoons accompaniment identical; texture accompaniment, missing horns Clarinet I with and oboe; off-beat octave measure 52 top figure of staff G to in staff Bb, G, then octave Bbs; measure 57 & 63 extend to Bb then descends the tonic arpeggio to Eb in Harmonie

65-80 Variation IV Clarinet I; Does not exist in Clarinet II, Horns, symphonie concertante Bassoons accompaniment

249 81-96 Variation V Bassoon II; Cello; strings only Bassoon II Clarinets, Horns, accompaniment; melody written Bassoon I Variation IV in down octave accompaniment symphonie concertante (cello part in treble clef), grace notes in measures 82, 8,7 & 94 are major second double stops in cello; texture missing oboes; articulation missing slur two- staccato two in measure 87 and staccato under the slur at 95

97-112 Variation VI Clarinet I lead Violin I lead melodic Tessitura & melodic voice; all voice; all voices in; texture identical; voices in; Oboes Violin II with syncopated Cello has slurs with syncopated ornamented figure; Cello on sixteenths, no and ornamented with sixteenth note graces in Violin figure; Bassoon I Alberti figure II m. 97-100 with sixteenth (written out as note Alberti figure thirty-second notes in other measures), Horns pitch material different in m. 98 & 110

Movement III

Measure Structural Critical Edition Critical Edition of Element for Harmonie Original Comparison

1-8 Theme I, first Clarinets and Tutti (minus Oboe) in Tessitura statement Bassoons first four first four measures, tutti identical; all in measures, tutti last last four, Violin I lead but Oboe first four voice four measures, tutti last four measures; slurs slightly different; dynamic pp instead of p in 250 Harmonie

9-16 Theme II Oboe I and Oboe and Cello duet; Tessitura, Bassoon I duet; Violin 2 and Viola 2 texture, Clarinets accompaniment articulation accompaniment identical; rhythm in measure 15 double dotted quarter in symphonie concertante

16-20 Transition Clarinet I Violin I Tessitura, texture, articulation identical

21-28 Theme I, Clarinets and Tutti Tessitura & second Bassoons articulation statement identical to first statement; Texture thicker with addition of Oboe

29-34 Trio Theme I, Clarinets, Horns; Horns, Violas; Oboe and Tessitura & first phrase Oboes join after Violin I join after two Texture two measures measures identical; articulation - some eighth note accompanimental figures have staccatos, some have strokes in symphonie concertante; not articulated in Harmonie; no slurs over initial melody in symphonie concertante

251 35-40 Trio Theme I, Clarinets, Horns, Horns, Violas; Oboe and Tessitura & second phrase Oboes join after Violin I join after two Texture two measures measures identical; articulation - some eighth note accompanimental figures have staccatos, some have strokes in symphonie concertante; not articulated in Harmonie; no slurs over initial melody in symphonie concertante

41-46 Trio Theme Oboes, joined by Oboe and Violin I duet; Tessitura & II, first phrase Clarinets and Horns and Violas join Texture Horns after two after two measures identical: measures Harmonie has additional slurs

47-52 Trio Theme I, Oboes, joined by Oboe and Violin I duet; Tessitura & first phrase Clarinets and Horns and Violas join Texture Horns after two after two measures identical: measures Harmonie has additional slurs; dynamics missing in symphonie concertante

Movement IV

Measure Structural Critical Edition Critical Edition of Comparison Element for Harmonie Original

1-8 A section of Clarinets start soli, Violin I and Viola I duet Tessitura & binary form tutti to start, tutti in measure 3 texture identical; accompaniment in articulation measure 3 varies through slurs; more written dynamics in symphonie

252 concertante parts

9-12 B section of Oboes and Violin I and Viola duet, Tessitura binary form, Clarinets start in tutti in 11-12 identical; first phrase thirds doubled at articulation the octave, tutti in varies through 11-12 slurs; texture is doubled in melodic voices for measures 9- 10; rhythm varies slightly

13-16 B section of Clarinets start soli, Violin I and Viola duet Tessitura, binary form, tutti for measures 13-14, tutti texture, second phrase accompaniment in in 15-16 articulation measure 15 identical; Rhythm varies slightly

Movement V

Measure Structural Critical Edition- Critical Edition- Comparison Element Harmonie Symphonie Concertante

1-8 A - Theme I Clarinets Violins Tessitura, texture, articulation identical

9-18 A - Theme II Clarinets Violins Tessitura, texture, identical; use of slur three stroke one in Violin II

19-20 Extension Clarinet I Violin I Tessitura, texture, articulation

253 identical

21-28 A - Theme I Clarinets Violins Tessitura, texture, articulation identical to first presentation

29-36 B - first Oboe I in g minor; Violin I melody; Tessitura, period Clarinets & pizzicato strings texture, Bassoons accompaniment articulation accompaniment identical

37-40 B - second Clarinets/Bassoons Oboe, Violin II, Violas Tessitura, period, first in g minor melody; horns & texture, half remainder of strings arco articulation accompaniment; Violin I identical has Oboe line from Wind

41-44 B - second Oboe I, same as Violin I melody; Tessitura, period, second second half of first pizzicato strings texture, half period accompaniment articulation identical

45-57 Codetta I Tutti Tutti Tessitura, texture identical; use of strokes in Violin II and Viola II on quarter notes

78-105 A Identical to first Violins Tessitura, presentation texture, articulation identical to first presentation

106-113 C - first Oboe I & Bassoon Oboe I & Cello duet; Tessitura, period I duet in c minor strings accompaniment texture, articulation identical

114-121 C - second Oboe I & Bassoon Oboe I & Cello duet; Tessitura, period I duet in c minor strings & horns texture, accompaniment articulation identical

254 122-142 Codetta II Tutti Tutti Tessitura, texture, articulation identical; difference with m. 133-142 - single quarter notes in symphonie concertante vs. slurred dotted quarter to quarter in Harmonie

143-170 A Identical to first Violins Tessitura, presentation texture, articulation identical to first presentation

171-178 D - first Bassoon I & Viola I & Violin I share First 8 measures period Clarinet I share melody, four measures of melody and melody, four each in Bb major Cello measures each in accompaniment Bb major down 8va in Harmonie, remainder of accompaniment same; texture identical; articulations vary by slur groupings and staccatos

179-186 D - second Oboe I & Bassoon Violin I and Viola I duet Tessitura, period I duet in Bb major texture, articulation identical

187-214 A Identical to first Violas in 2 measure Tessitura down presentation alternation with Violins; octave when Violins lead voice on A Violas have sections second theme; melody; same as Violins lead on last A of previous when ABA form. Violins have melody; texture and articulation 255 identical

215-229 Coda - first Oboes pass Oboe I & Viola I pass Tessitura & two periods melody to Clarinet melody to Violin I and articulation I/Bassoon II Cello identical; Horns sustain a tonic pedal in symphonie concertante parts

230-246 Coda - Clarinet I Violin I Tessitura, Concertante texture, passagework articulation identical

247-306 Coda - closing Tutti Tutti Tessitura & material texture identical; some inconsistent use of strokes in symphonie concertante parts

256

Appendix E: First page of first oboe part from Don Mus. Ms 1597 and 1571

257

Don Mus. Ms. 1597: first oboe, page one.

258 Don Mus. Ms. 1571: first oboe, page one.

259