VILLAGERS AT WORK: ANATOLIAN SUITE II
Hagop Ferit Dugmeciyan
A THESIS-COMPOSITION SUBMITTED TO
THE FACULTY OF GRADUATE STUDIES
IN PARTIAL FULFILLMENT OF THE REQUIREMENTS
FOR THE DEGREE OF
MASTER OF ARTS
GRADUATE PROGRAM IN MUSIC
YORK UNIVERSITY
TORONTO, ONTARIO
February 2016
©Hagop Ferit Dugmeciyan, 2016
ABSTRACT
"Villagers At Work" is a suite for orchestra which paints a contemporary picture of the
historic Armenian-Anatolian peasants working in the field. I am an Anatolian-Armenian and
know that despite so many efforts of extermination, there still exists a huge invisible population
of Armenians in Eastern Anatolia, hiding in disguise under an imposed culture.
My composition is an experiment combining quartal harmony with folk music, applied to
traditional western orchestra. In this composition I am trying to follow the paths established by
Bela Bartok, Komitas and Margrit Prudyan. My music promotes the idea that tonal/modal
systems with Quartal Harmony can produce different expressions than traditionally we are
accustomed to hearing. It is also an addition to multicultural Canadian diversity from a native of
Anatolia that would enrich Canadian music literature for symphonic orchestras.
ii
ACKNOWLEDGEMENT
I would like to express my sincere gratitude to:
Prof. Michael Coghlan, my supervisor who was the primary supporter of this work.
Prof. Alan Henderson, my instructor of Composition Seminar.
Prof. Melissa Bilal who provided material for my research.
Dr. Roger Bergs, my instructor of Composition and Orchestration.
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TABLE OF CONTENTS
ABSTRACT
ii
ACKNOWLEDGMENT
iii
TABLE OF CONTENTS
iv
LIST OF TABLES
vi
LIST OF FIGURES
vii
LIST OF ILLUSTRATIONS
viii
INTRODUCTION
1
CHAPTER I - HISTORICAL BACKGROUND
2
I.1. HISTORY OF ARMENIAN PEOPLE
2
I.2. DEVELOPMENT OF ARMENIAN MUSIC
3
CHAPTER II - HISTORICAL AND THEORETICAL INFLUENCES
7
II.1 .THE WORK OF MARGRIT PRUDYAN
7
II.2 .HISTORY OF THE QUARTAL HARMONY
13
II.3 .KOMITAS AND BARTOK
15
CHAPTER III - ANALYSIS OF “VILLAGERS AT WORK”
22
III.1.THEMATIC ANALYSIS
22
III.2 .HARMONIC ANALYSIS
27
III.3 .FORM AND STRUCTURAL ANALYSIS
32
III.4.ORCHESTRATION AND INSTRUMENTATION
39
CONCLUSION
40
iv
ORCHESTRAL SCORE:“VILLAGERS AT WORK: Anatolian Suite II”
41
APPENDICES
81
APPENDIX A : Labour songs from which themes are derived.
81
APPENDIX B : Most used Armenian modes with song examples.
83
APPENDIX C : Text and translation of a labour song.
88
WORKS CITED
89
v
LIST OF TABLES
Table 1 Themes used in “Villagers at Work”
33
Table 2 List of Instruments used in “Villagers at Work”
39
vi
LIST OF FIGURES
Figure 1
Microtonal pitches
8
Figure 2 Tertian, Quartal and Quintal structured modes with their secondary tonics
10
Figure 3
Main modal categories In Armenian folk music
12
Figure 4
Opening Hymn of Armenian Mass arranged by Komitas.
19
Figure 5
Mikrokosmos. Book 5 No: 131. Bela Bartok
21
Figure 6a Main Themes
23
Figure 6b Themes by section in “Villagers at Work”
24
Figure 7
Some Quartal Harmony principles set for “Villagers at Work”
29
Figure 8
Some cadential examples from the score
31
Figure 9
Expositions of two fugatos in sections C and D
35
Figure 10a An Armenian Labour Song
38
Figure 10b An Armenian Labour Song
38
Figure 11 Armenian Treshing Song
81
Figure 12 Armenian Harvest Song
81
Figure 13 Most used Armenian modes with a sample song for each
83
Figure 14 A plow song text
89
vii
LIST OF ILLUSTRATIONS
Picture 1 Komitas Vartabed
6
viii
INTRODUCTION
This thesis aims to introduce quartal harmony as a viable and effective choice for tonal
and modal music. For my composition, I use quartal harmony in support of motives, modes and
rhythms inspired by Anatolian Armenian music from my birthplace.
Lately I am engaged in writing music compositions for traditional western symphonic
orchestra using Armenian folk music motives. My inspiration came from musicologistcomposers Komitas and Bela Bartok. They were both dedicated researchers in folk music and
acknowledged composers of music inspired by the traditional music of their people. As a
composer myself, I have written a Piano Concerto, the Anatolian Suite I and several small
ensemble and choir pieces. The work that I wrote for this thesis, “Villagers at Work,” is the
second Anatolian-Armenian Suite. It describes peasant work life during the early 1900’s in
Eastern Anatolia.
1
CHAPTER I - BACKGROUND INFORMATION
I.1. THE HISTORY OF ARMENIAN PEOPLE
Anatolia (Asia Minor) is the land that is south of the Black Sea, north of the Mediterranean
Sea and east of the Aegean Sea. Eastern Anatolia has been the native land of Armenians since the
beginning of the recorded history. Therefore it is one of the the most ancient cultures of Anatolia.
Armenian music is affected by its people’s continuous quest for survival. Throughout the
history, Armenia has been dominated by the Ottoman, Persian, and Russian empires. Eastern
Armenia, a smaller part of historical Armenian land, became part of the Soviet Union in 1920
until it emerged as an independent state in 1990. The Ottoman Turks governed Western
Armenia’s population throughout the nineteenth century. Under Ottoman rulers, Armenians
experienced heavy taxation and discrimination. Lacking any legal recourse for these injustices or
even the right to bear arms, they were subject to armed attacks, which led to a series of
massacres of Armenians during 1894-1896, 1905-1910, accompanied by other types of
persecution and discrimination (Semerdjian “The Armenians” hyetch, 2015, hyetch.com).
World War I brought on even greater calamity for the Armenian people when Turkish
officials ordered the arrest and execution of community leaders and the deportation of the entire
Armenian population. As they were forced to march into Syria, Mesopotamia and Arabia, many
innocent people were flogged to death, bayoneted, buried alive in pits, drowned in rivers,
beheaded, raped, or abducted. Many others died from heat exhaustion or starvation. A total of
one and a half million Armenians were killed in 1915 in an effort to achieve an ethnic cleansing,
resulting in the first genocide of the twentieth century ( Semerdjian, hyetch).
2
II.2. THE DEVELOPMENT OF ARMENIAN MUSIC
Despite its history of tremendous oppression, Armenian culture flourished. The arts were
critical in fostering a sense of pride and unity among the people. Music was especially important
as a means of artistic expression, with sacred and folk music being the most dominant genres.
Armenia became the first officially Christian state in 301 A.D., and music has been an integral
part of the christian liturgy since then. Several volumes of chants exist, including the “Book of
Sharakan", a collection of more than 1300 cyclically organized hymns, some dating as far back
as the seventh century. This repertoire uses an elaborate system of neumes known as the khaz
notation. Armenian chant is based on an eight-mode system known as oktoēchos, and is
primarily monophonic. It was not until the latter half of the twentieth century that the singing of
traditional modal chant began to decline (Pehlivanian, et.al. 2001, 24-25).
As with Armenian sacred music, folk song also has its roots in antiquity. After the
creation of the Armenian alphabet in 404 A.D., folklore became more complex and widespread.
This led to the rise of the “gusanner”: professional storytellers, actors, dancers, singers, and
instrumentalists who took part in theatrical performances, weddings, funerals, and feasts,
presenting the national myths and epics in word and song. By the seventeenth century, the
gusanner were replaced by the “ashughner". These traveling poet-musicians were noted for their
love songs, but also composed using social and philosophical themes. Ashugh melodies tend to
have a highly emotional character. These songs were passed down orally through the generations,
and were eventually notated during the late nineteenth century.
The folk music repertory can be divided into categories based on function: work songs,
ritual songs, lyrical love-songs, and the most widespread, dance songs. Folk songs were often
3
performed with instrumental accompaniment with a sustained pitch and the rhythmic emphasis
of a percussion. Traditional Armenian folk instruments include wind instruments like duduk,
zurna, blue and shvi , stringed instruments like oud, kamancha, and tar , and
percussion instruments like dhol and dumbek. Purely instrumental music also existed.
Armenian folk song has many characteristics typical of folk music of other nations. These
qualities include repetition of short motives, use of free rhythms, declamatory style, and simple
forms. Armenian folk music is primarily monophonic and modal. Komitas, the AnatolianArmenian musicologist, says the following: “Almost all Armenian modes are based on
tetrachords. The last note of the lower tetrachord is also the first note of upper tetrachord. This is
true for both the church modes and folk tunes as they are closely related” (Barsoumian 2001, 15).
Among all of the modes Phrygian seems to be the one that is most frequently used (Poladian
1942, 15- 16). The range of folk melodies are usually a fifth or less. Often, one tone is used as
the center of polarity, around which, or above and below which, the tune is constructed. Folk
songs typically begin on the tonic, and it is common to repeat the first note, in keeping with the
declamatory style. Anticipation seems to be the most common embellishment. The most popular
form is variations. Rhythms include both simple and compound meters as well as mixed meter.
Much of this knowledge of Armenian sacred music and folk song can be attributed to the
composer and musicologist Komitas Vartabed (1869-1935). An ordained priest, he spent more
than a decade traveling throughout the Ottoman Empire collecting and transcribing nearly 3,000
folk songs and dance tunes, and investigating the Armenian neumatic (khaz) notation system.
Komitas was the first to systematically catalog Armenian national music and publish a volume of
folk songs.
4
He wrote numerous journal articles and often gave presentations on his research.After one such
lecture at a 1914 meeting of the International Music Society in Paris, Komitas was questioned as
to the audience’s reaction to his presentation. He replied:
“Before my revelations about Armenian spiritual and folk music, it was a novelty in
particular to those who last year were still ignorant or refused the existence of a specific
Armenian music. Many who had a superficial opinion, after the lectures they were the first to
acknowledge that the Armenian music represents a high artistic value, purer and nobler than that
of many other eastern people’s music. The great music masters, when I was finalizing my
lectures, could not control their surprise and admiration as they were being presented to this
‘foreign’ music” (Barsoumian 2001, 24).
According to Harry Begian, Komitas’ research greatly increased the awareness of
Armenian music throughout Europe. In addition to his musicological endeavors, Komitas
organized and directed many choirs in his homeland and abroad. His arrangements of Armenian
folk, sacred, and dance music aroused great enthusiasm among his audiences, and helped
Armenians to become more familiar with their own musical heritage ( Begian 1964, 241).
Appendix A on pages 81-82 shows two partial examples of Komitas’ polyphonic settings of folk
songs for a choir.
5
Picture 1: Komitas Vartabed1 (ru.hayazg.info)
——————————————————————————————————————
1 Komitas
is his priesthood name, his real name was Soghomon Soghomonian. When he was
ordained a priest he assumed a new name “Komitas”, following the rules of Armenian tradition.
“Vartaped” means father in Armenian as a title in religious hierarchical system ie. Father
Komitas. In Eastern Armenian dialect it is written as “Komitas” but pronounced “Gomidas”. In
western Armenian it is written and pronounced “Gomidas”.
6
CHAPTER II - HISTORICAL AND THEORETICAL INFLUENCES
II.1. THE WORK OF MARGRIT PRUDYAN:
CHARACTERISTICS OF ARMENIAN MODAL SCALES
Professor Margrit Prudyan (1922-2002) was a prominent musicologist teaching in the
Yerevan Conservatory and other institutions in Armenia. Prudyan based her work on and further
developed the principles established by Komitas. Her book “Hay Joghovurtagan Yerajshdtagan
Sdeghdzakordzutyun” (Creative Process in Armenian Folk Music) is a textbook of musicology
that I used as one of the main references for my composition. This book provided me with
knowledge about how the Armenian modalities of folk songs are structured and what are the
functional characteristics of the tonal degrees. Consequently, the functional characteristics of
tonal degrees helped me to establish a base for harmonic functionality.
According to Prudyan, every traditional melody has its own tonality/modality which is
analogous to major and minor tonalities of western music. The main scale of Armenian music
would be a chain of tetrachords with some lower quarter tones at the beginning of each
tetrachord. These lower tones create intervals less than a half tone with the previous note.
Western instruments designed to play in equal-temperament cannot play these “microtones”. In
Armenian professional music, such as classical or jazz, these lower sounds were ignored because
of the limits of western instruments. Because Armenians were engaged in western style
polyphony and harmony long before other surrounding cultures, Armenian classical music has
often ignored these microtones.
7
Tonalities of Armenian folk and church music are diatonic. There are usually no tones
repeated in the octave above, as the same tone in the octave above usually has a different
function, or it is lowered or raised creating microtonal intervals (See Figure No. 1, below).
Notes that are lowered by a quarter tone in Armenian tetrachords:
Figure 1: Microtonal pitches at the beginning (therefore also at the end) of tetrachords.
As every melody has a resting or ending point - referred to as the “tonic”- there may be
two tonal centers in Armenian folk music, a primary and a secondary resting tone. Every melody
ends on the primary tonic, but Secondary tonics can be seen during the course of melody as a
temporary resting point usually at a strong beat or on a longer tone. Prudyan displays this in the
samples shown in Figure No. 2, below. (Prudyan 1971, 22-23).
8
Prudyan indicates that the Primary Tonic is on the first note of the main tetrachord,
therefore the Ist degree of scale is a decisive resolution point. The Secondary Tonic is where the
melody finds a temporary resting point. Where the scale degree of the Secondary Tonic is placed
depends on the version of the modality/tonality.
Therefore Prudyan makes a classification of modes according to the location of the
Secondary Tonic with respect to the Primary Tonic. She believes that different modes can be
classified into the following three categories:
1. Tertian based modes- Secondary Tonic is situated a minor third above Primary Tonic
2. Quartal based modes- Secondary Tonic is situated a perfect fourth above Primary Tonic
3. Quintal based modes- Secondary Tonic is situated a perfect fifth above Primary Tonic
Figure 1 below shows the structure of each category with an appropriate example of a
folk song.
Note that a reversed flat sign indicates a lower microtonal pitch.
9
Figure 2: Tertian, Quartal and Quintal structured modes with their secondary tonic location.
10
A number of functional characteristics can be observed in the examples in Figure 2 above.
1. The first note of the lower tetrachord and the first note of the upper tetrachord, in other
words Ist and IVth of the full scale degrees, may serve as two points of Tonic resolution, Primary
Tonic and Secondary Tonic. In general, third, fourth or fifth degrees become melody’s temporary
relaxation points.
2. The third note of the lower tetrachord and the third note of the upper tetrachord, in other
words IIIrd and VIIth degrees of the full scale, can be regarded as carrying tension aiming to
resolve in the two tetrachordal Tonics. This is true regardless of whether the mode is tertianbased, quartal-based or quintal-based.
3. In the folk song examples above, in the final endings of the phrase, the IIIrd degree as
tension carrying point, can be thought of as the “dominant” requiring resolution into tonic.
11
Prudyan also thinks of another useful way of categorizing Armenian folk songs according to
the use of the modalities. This kind of classification leads us into four Decachordal systems,
because the range of the majority of folk songs is ten notes. Each Decachord consists of several
Tetrachords, and they are called Hypo because Tonic falls in the middle register of the scale
during the course of the song. The following figure (Figure No. 3) shows the Armenian modes in
Decachordal version (Prudyan 1971, 25)1.
Figure 3: Main modal categories in Armenian folk music
_______________________________________________________________________
1Figure
13 in Appendix B, pages 83-86, shows Prudyan’s classification of the modes with an
appropriate Armenian folk song example for each (Prudyan 1971, 31-45). For the explanation of
how these models are adapted for use in this work see chapter III.1 and III.2.
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II.2. A HISTORY OF QUARTAL HARMONY
In the period of medieval polyphony preceding the advent of the common-practice
period, the use of tertian chords was not the primary means of constructing harmony. Rather,
much melodic and harmonic emphasis would be placed on fourths and fifths. In “ fauxbourdon”
style, the first line melody would be accompanied a fourth below in second voice and a sixth
below in the third voice. Thus, many harmonies used during that period may be termed quartal
or quintal (although whether a harmonic entity composed of a single fourth and octave
constitutes an actual quartal chord is debatable). When tertian harmony became the primary
method of constructing harmony during the Renaissance and Baroque periods, however, the
natural emphasis on the fourth and fifth in music faded away, a phenomenon exacerbated by the
tight voice-leading guidelines of the Baroque and Classical periods.
Quartal and quintal harmony remained mere by-products of voice-leading until the early
20th century, when composers actively sought new means of expression. The works of
impressionists such as Claude Debussy saw the renewed use of quartal and quintal harmony
independent of tertian harmony, and the compositions of Arnold Schoenberg and Anton Webern
(both figureheads of the Second Viennese School) use much quartal harmony in a freer atonal or
tonally extended context (see Webern's Four Pieces for Violin and Piano, Op. 7 and Schoenberg's
Chamber Symphony, Op. 9). The availability of quartal/quintal harmony as a compositional
technique has persisted through today, as can be demonstrated in other contemporary works such
as Charles Ives's “The Cage“ (wiki.youngcomposers.com).
Many young composers are under the impression that since tertian harmony is based on
thirds, that quartal harmony is a replacement, being based on fourths. However, in practice (and
13
in the literature) it is more of an augmentation of the tertian vocabulary, not strictly a
substitution. Some of the first prominent composers to write pieces implementing quartal
concepts, such as Hugo Distler, Arnold Schönberg, and Paul Hindemith, rarely simply stacked
perfect fourths on top of one another (an exception would be Schönberg's Chamber Symphony
Op. 9 in the slow section). Instead, they re-examined the concepts of consonance vs. dissonance.
If one rotates a series of stacked fourths over the tonic in C (C, F, and Bb) one notices that also
inherent in the combination is the minor seventh/major second (C to Bb). As such, the intervals
of the major second, perfect fourth, and minor seventh all can be considered consonances intervals that no longer need resolution (Rubin 2005, 1).
In addition, the use of a minor seventh over the tonic implies a flat seventh scale degree
in the key, a modal influence over a tonal one. The sharing of sonorities between the tertian and
quartal harmonic realms carries over to the often ambivalent articulation of tonal and modal
structures. Once again, rather than choosing one system over another, composers have taken a
more inclusive approach, allowing for both languages to co-exist within the confines of a single
work.
An approach often observed regarding voice leading in pieces that employ quartal
harmony is the somewhat archaic-sounding use of parallel perfect intervals. Derived from one of
the earliest forms of Western music, organum uses parallel fourths, fifths, and octaves to
reinforce its modal melodies. Although disallowed in subsequent eras, this sonority only expands
the modern composer's palette if used judiciously (Rubin 2005, 2).
14
II.3 KOMITAS AND BARTOK
Bela Bartok (1881-1945), tried to combine classical music techniques with folk music. In
his words, “peasant music is the instant manifestation of nature... compositions using peasant
music should chose in between sophisticated atonality of the classical music and the primitive
diatonic monophony of the east...”
Itinerant Hungarian minstrels, the gypsies, whose music is erroneously regarded as
Magyar, confined themselves to the popular songs rather than folk songs. Even more confusing
to the national culture, was the fact that music educators in Hungary were exponents of German
Romanticism. A young composer, therefore, had the choice of passively following the
Brahmsian tradition or immersing themselves in Gypsy popular music - neither of which were
genuinely Magyar.Brahms first heard Hungarian gypsy music on the streets of Hamburg. He was
fascinated by the passionate sounds of the bands, who were refugees from the Hungarian
Revolution. A few years later, Brahms did a tour of northern Germany with the theatrical
virtuoso, gypsy violinist Eduard Reményi. Reményi would play the violin and Brahms would
accompany him on the piano, by ear, without any written music! This definitely gave the young
composer the first inspiration for his own Hungarian Dances. But the dances aren't Hungarian
and not even exactly "authentic" gypsy peasant music. These melodies actually come from
popular music created by gypsies for cafe entertainment ( Marshall 1946, 9).
Bartok, having immersed himself in actual Hungarian -and not gypsy- peasant-music
studies, absorbed and transformed the essential external details of peasant music in forging his
creative celebrations of its underlying spirit (Marshall 1946, 11-12). From his studies of
Hungarian folk music Bartok was convinced that he should use modal tonalities and a suitable
harmony. While nearly all of Bartok's original themes are infused with the character of folk
15
music, in many cases themes or turns of phrases are deliberate or subconscious imitations of folk
melodies. The equally numerous examples of melodic details depart from the older models. In
introducing idiosyncrasies while creating peasant-music-derived melodies, Bartok made the
older materials his own (Lendvai 1971, 5).
The centuries of Ottoman domination in the Balkans had a marked effect on the
populations and cultures of the peninsula. After the introduction of nationalism in the area during
the first half of the nineteenth century, ‘the Turkish yoke’, or the Ottoman political and cultural
influence, became a serious problem for the Western-oriented members of the educated classes.
In their train of thought, national culture, including folk music, had to be free from foreign
influences including those of the Ottoman Turks. Consequently, in the early 1900s, the
intelligentsia found itself in an awkward position between the Ottoman past and the semiEuropean present. Because of religious and cultural restrictions, public performers of music—
especially women—in the Ottoman Empire were often non-Muslims, that is Ottoman Sephardic
Jews, Ottoman Armenians and Ottoman Greeks. Even more commonly, Muslim and Christian
Roma embarked upon careers in music ( Pennanen 2008, 130).
Western Armenia of Anatolia encountered similar experiences under the Ottoman
rule.According to Komitas:
“…the cantors of the church, began to embellish the Armenian songs with Turkish
colorations when they sang for the banquets of their rich patrons. The noble and pure nature of
the Armenian song did not amuse the guests who, living in Constantinople, had acquired some of
the Turkish tastes and mores”. (Barsoumian 2001, 167)
16
Bartok and Komitas felt the necessity to bring out the national identities of their
traditional music. It was a period of “nation building” that resulted in the emergence of national
culture and music, freed of any foreign influence. As musicologists, they were consciously aware
of the historic interactions of cultural synthesis that would make the Hungarian or Armenian
traditional music. Eliminating foreign influences would mean bringing out Hungarian folk music
out from under the shadow of gypsy popular music and filtering out Turkish influences on
Armenian music. In the case of Armenian music, the collection, purification, and preservation
was of paramount importance because of the past and continuing persecution.
Komitas’ collection of songs also served to catalogue the lyrics of these songs. The
opening lines in lyrics are about the work they are doing. In plowing songs there are phrases
praising the oxen for their hard work or imploring them to work. The expressions that are not
work related can be about the many aspects of daily life (See The Text of a Plowing Song,
Appendix C pg.88, Figure 14). There is also an element of improvisation in the lyrics. For
example, in plow songs that are also continued during the night, the peasant at work may notice
candle light comes up in a distant house. Then, he may start to sing about it, the same song but
new words like “bride is awake, feeding the baby” (Barsoumian 2001, 75).
Dealing with Pentatonic folk songs certainly had an effect on Bartok's use of quartal
harmony. Figure 5 shows an example of Bartok’s use of quartal chords. Similarly, Komitas also
used a harmony that consisted of quintal/quartal harmonic intervals by omitting the use of the
third of the chord (See the example pg.19, Figure 4). Komitas and Bartok sought to establish a
unique national cultural base in music on which musicians and composers could have a
perspective to develop a new understanding of music.
17
At the same time, after the First World War, important political changes were taking place
in Anatolia. With the collapse of the Ottoman Dynasty, a new Turkish state declared itself as the
political power on Anatolian Land. Eventually two conflicting discourses emerged in Turkish
music itself. The new nationalist discourse sought to eliminate what they labelled as the Persian/
Arabic music of the Ottoman Court, which is mostly known as Turkish Classic Art Music.
Turkish Nationalism also put enormous effort into disregarding, annihilating, or at least
assimilating Armenian and other non-Turkish cultures. Today people of Anatolia, Armenians of
Western Armenia and the Kurds of Northern Kurdistan, as well as Assyrians and Yezidis still
struggle for their cultural freedom, against ruling Turkish Nationalist and Islamist domination.
Anthropologist Wendy Hemelink, whose research interest concentrated on Anatolian Kurdish
and Armenian culture, published a book about the Anatolian Armenian town Sassoun, where
Armenians live under the disguise of Turkish-Muslim identity. Hemlink’s research is titled
“Sassoun Armenians and their musical memories” ( Hemelink “Conference on Islamized
Armenians”, 2013, www.hrantdink.org).
18
Figure 4: Opening Hymn of Armenian Mass Arranged by Komitas (Divine Liturgy, 3)
19
The above example (Figure 4) is the Introit of Armenian Divine Liturgy. It is an
arrangement of traditional monophonic hymns into a three voice male choir. The arranger,
Komitas, was not able to finish it in April 1915 as a full scale genocide commenced. He was
taken away by Turkish soldiers to be executed in a remote place, along with some two hundred
and fifty other Armenian intellectuals, many of them his friends. He was saved by the
intervention of the German Council in Constantinople who, on behalf of Ottoman ally Germany,
and Turkish intellectual Halide E. Adivar, demanded his return. That was the opening of the full
scale massacres of more than one million Armenians. Witnessing the murder of his friends,
Komitas had to spend the rest of his life in mental institutions. He was probably the first
important musicologist of Anatolia. His collection of songs exceed three thousand, some of them
believed to be lost during deportations of Armenians. He also had collections of Turkish and
Kurdish folk songs.
Komitas arranged many of the collected folk songs in polyphony for choir (See Figures
11, 12, pg. 81-82). He gave clues of quartal-quintal harmony in a few pieces as can be seen in
the example above (Figure No. 4). I believe he would be developing his ideas of polyphony in
theoretical works if his productive life had not been shortened. Notice that the cadence at the
fourth-last bar may be considered as IIIrd to Ist degree perfect cadence in A minor. This is the
type of perfect cadence used in “Villagres at Work.”
20
Bela Bartok used traditional Tertian Harmony and Quartal Harmony together in his
compositions. But, the piece shown below (Figure No. 5) is purely in quartal harmony and every
chord is consistent in its structure of stacking fourths. Some chords are used chromatically.
(For an explanation of how this is applied to my composition see chapter III.2).
Figure 5: Mikrokosmos.Book 5 No: 131. Bela Bartok
21
CHAPTER III - ANALYSIS OF “VILLAGERS AT WORK”.
III.1. THEMATIC ANALYSIS
Komitas’ and Prudyan’s findings on Armenian folk tunes, with their particular type of
modality and melodic characteristics, inspired many composers. For example, Aram
Khachaturian, an Eastern Armenian composer, used fragments melodic motives in many of his
compositions. Khachaturian's “Gayaneh Suite” is one of the most famous of these pieces. Bela
Bartok did the same with Hungarian music. According to Lendvai, “while nearly all of Bartok's
original themes are infused with the character of folk music, in many cases themes or turns of
phrases are deliberate or subconscious imitations of folk melodies” (Lendvai 1991, 3).
Following the same understanding, in the “Villagers at Work” I used motives inspired by
Armenian folk tunes. Figure 6 below displays the themes used in each section.
The themes in the Introduction and section B are directly derived from actual folk songs
as indicated. The theme of section B as the thematic backbone of the composition is repeated in
sections E, H and J. Of those, Section E is a close variation of the song of which section B theme
is also derived (pg. 38, Figure 10b). In section E, the first theme is in F Mixolydian (with Gb
alteration) and second theme is in A Phrygian. Section J is built on a fragment of the theme in
section B.
The theme of section C represents the second important theme, as it simulates modal
themes in diatonic structure. Modified versions of the same theme are used in section D and I.
“ Villagers at Work” follows Bartok’s approach in using motives inspired by folk tunes, not
merely using historical tunes themselves. Modality and diatonicism are adjusted to fit the voice
22
leading that quartal harmony requires. Chromaticism in voices other than the main melody is
thought as a balancing factor against horizontal diatonicism and vertical large intervals of fourth.
Figure 6a below shows the main themes in my composition and 6b main themes and derivatives
of them by sections.
Figure 6a: Main themes of “ Villagers at Work”
23
It would be useful to classify themes used in each section.
24
25
Figure 6b. Themes used in each section of “Villagers at Work”.
26
III.2. HARMONIC ANALYSIS
I chose quartal harmony as the polyphonic technique for my composition. I thought that,
a theory of quartal harmony may be deducted from the following concepts that we have
examined in Chapter II:
a- We looked into Komitas’s suggestions for polyphonic treatment of Armenian music.
Although he is a western trained musician and uses predominantly the traditional Tertian
Harmony and Counterpoint, in a lot of works he uses chords with open fifths and no thirds
(pg.19, Figure 4).
b- We discussed Prudyan’s analysis of Armenian Folk Tunes that continues on the path
of Komitas. We have seen that in Armenian folk melodies Ist degree is the Tonic, IVth and/or
Vth treated as Secondary Tonics, and the IIIrd can be considered as the Dominant. We have also
seen that, the melody usually starts on Primary Tonic, temporarily stays around Secondary Tonic,
then creates a stress point on the IIIrd degree that eventually resolves into Primary Tonic directly
or through the IInd degree (Prudyan, pages 30-45). ( For modes and song examples see Appendix
B pg. 83, Figure 13).
c- We mentioned Bartok’s use of quartal polyphony that generates from the modal
structure of Hungarian Folk Music. We looked at Bartok’s idea of creating folk inspired pieces in
exclusively quartal harmony context (pg.21, Figure 5, Mikrokosmos).
27
In my orchestral suite “Villagers at Work”, I use quartal chords that are established by
adding a fourth above and a fourth below the root note. Prudyan points out that the first, fourth
and fifth degrees are resolution points. Therefore we can build a consonant chord on those notes
which make up a quartal chord. It suggests a structure that adds a quartal interval above the root,
then a quartal interval below the root. This kind of structure would provide closer interaction of
added notes to the root, as opposed to adding consecutive fourths all stacked above the root . I
would like to emphasis that, in my opinion, in a tertian mode where IIIrd degree is a temporary
end of the first phrase, it can still be treated as “dominant,” i.e. half cadence.
My composition does not use a quartal technique for the horizontal, melodic movements.
It is only the harmony that is quartal in its nature. The melodies are folk inspired with tendencies
to be modal. Besides horizontally diatonic intervals, this piece also employs some chromaticism.
I felt that chromaticism would somehow serve to balance the openness in distance in vertical
intervals of the quartal chordal structure.
Paul Hindemith in some of his works, sometimes clearly, conveys a sense of tonal centre
in the realm of quartal harmony. But the chord progressions are based on a dissonant- consonant
relation rather than traditional functions of degrees. He mostly uses tertian chords mixed with
quarterly structured chords. Hindemith suggests that quartal chords can directly use the sounds of
the scale or can use altered versions of the notes (Hindemith 1937, 88). In my composition
“Villagers at Work” I use both diatonic and altered versions of tonal degrees.I use purely quartal
harmony throughout with a sense of harmonic function to create a feeling of old historic times.
This differs from the patterns used by many of the composers referred to above. The following
figure (Figure 7) displays diatonic examples of the principles of harmony that I employed.
28
Figure 7: Some Quartal Harmony principles set for “Villagers at Work”
29
Explanation of Figure 7
The first system of the figure shows an example of how the notes of a diatonic scale (A
minor in this case) can be used to build quartal harmony.
The second and third system shows how quartile intervals are added to construct a chord
as the root note is the middle note of three voice chord: Two fourth intervals added to the root,
one above the root one below the root.
The third system shows that four voice chord is obtained by adding another fourth
interval on top of the three voice chord. Tritone in IInd degree chord can be considered a
consonant interval. Tritone in IIId degree chord is a dissonant interval as part of “dominant”
function requiring a resolution. In a resolution IIId to Ist degrees Tritone interval note F resolves
to E and B resolves to A in A minor mode or tonality. The tritone in VIth degree chord could be
treated as consonant unless it is used as a five note “dominant” chord.
The fourth system displays the root position and inversions of the chords.
The fifth system shows ideas of cadences.
Cadential tonic chord in “I 5/4” to be considered the root position because it places the
first degree of the scale in the base. Therefore, “I 5/2 ” is equivalent to first inversion and “I 7/4”
becomes the second inversion.
30
Cadential examples from “ Villagers at Work”:
Figure 8: Some cadential examples from the score
31
III.3. FORM AND STRUCTURAL ANALYSIS
A “suite” is a set of independent pieces that have some type of connection. “Villagers at
Work” is a suite for orchestra that consists of an introduction and ten short pieces. They flow into
each other without any major break. In the meantime, the harmonic and rhythmic structure often
provides a hint to the listener at the end of one section of what will come at the start of the next.
It is also programatic music that describes the work and related activities of industrious and
productive life of Armenians, historic native people of Anatolia. Theme II, labeled “celebrating
the work season” is derived from another labour song sung by women during harvest time. It is
first introduced in section B, then repeats in sections E, H, J each time with manipulated
versions. These are the active sections that separate two slower sections and they present a
homophonic texture. The slow sections use contrapuntal texture as in sections A, C-D, F-G, I
among which section C and I are Fugatos. The dance sections also simulate the fact that there
were folk dances directly related to work.
Table 1 on the next page shows the list of sections with the themes used in each section of
the Anatolian Suite “Villagers at Work”.
32
Introduction : Call for farmers to gather at the market square. Measures 1-20
Section A
: Plowing the land. Measures 20-44
Theme I
Section B
: Celebrating the work season. Measures 45-71
Theme II
Section C
: Women spinning wool. Measures 72-93
Theme III
Section D
: Women carrying pails of water. Measures 94-124
Theme III
Section E
: At the blacksmith’s shop. Measures 125-157
Theme IV
Section F
: Dance of maidens’ courted by young men. Measures 158-192
Theme III
Section G
: Plowing the neighbour’s land. Measures 193-207
Theme I
Section H
: Celebrating the work season. Measures 208-243
Theme II
Section I
: Returning home. Measures. 244-260
Theme III
Section J
: Celebration in church backyard. Measures 261-286
Theme II
Table 1. Themes used in “Villagers at Work”
Detailed description of the items listed in Table 1.
Introductory Section: Call for farmers to gather in the market place.
Simple period structure of two phrases, antecedent and consequent. The motive of the
phrase is taken from an agricultural labour song (See pg.38, Figure 9a, also Appendix A pg. 81,
Figure 11). This section is a call at sunrise to farmers to gather at the square for the plowing of
the fields. Plowing was a collective work because many villages could set up one plow to plow
all the fields.
33
Section A- (Theme I)- Farmers plowing the land.
Theme Ia , in harmonic major (See Figure 13) represents the assembling the plow and
setting up oxen(measures 20-28). Theme Ib, that starts in Phrygian mode(Figure11), paints the
scene of the plowing work itself (measures 29-32). Ending phrase and a Tutti cadence
emphasizing the collective work (measures 33-44).
Section B-(Theme II)- Celebration of the work season.
Various groups in the village come together to celebrate the season that will end with
harvest (measures 45-72). This is a diatonic, duple meter energetic dance that ends with a
celebratory mood.The theme, in Aeolian Mode is derived from a harvest song ( See Figure 9, pg.
35 also Figure 11, pg.81).
Section C -(Theme III)- Women spinning wool.
A slow section with relaxed mood using several diatonic.and related scales The elderly
women are serious about their work. The construction of the theme, as it is the exposition of the
subject, indicates similar and equal work carried out by several women in the room (measures
72-75). Their work continues with one fugato section followed by another (measures 76-8
34
Section D-(Theme III)- Maidens carrying jugs of water.
The theme of previous section inverted and altered. While the elderly women are working
indoors, the maidens are carrying jugs of water (measures 89-106). A little later some young
men (represented by brass section) come to court the maidens. Therefore sections C and D can be
considered two different angles of the same scene describing peasant women activities. This is
justified by the two sections, sections C and D, hinting at the structure of a fugue, although not
complete, consequently series of fugatos.
Figure 9: Expositions of two fugatos in sections C and D
35
Section E-(Theme IV)- At the Blacksmith’s shop.
The Blacksmith and his younger apprentices are in energetic work that includes the
sharpening of spare parts for the plow and other agricultural tools. Naturally all kind of metallic
sounds are heard around the shop. The Theme IVa, starting in Phrygian mode, carries an air of
Theme II by embellishments and a rhythmic variation of it (measures 129-141). Theme IVb uses
extension of a small motive that simulates hammering and pounding of metal , starting in F
Mixolydian mode (measures 144-218).
Section F-(Theme V)- Maidens’ dance.
In the midst of all this activity, some maidens put their work aside to be flirtatious with
young men. They do a short dance with changing meters, typical folk dancing for this region.
The theme mainly is in Dorian mode. It is slow but rhythmic dance with a syncopated 6/8
(2+2+2) bar followed by a 5/8 (3+2). The dance may be visualized as three stomps on three
beats of 6/8 and two arm movements on two irregular beats of 5/8. Therefore one stomp for each
of three quarter notes of 6/8 (2+2+2 eight notes) and two arm movements for each two beats of
5/8. The first arm movement on 5/8 is longer because of the longer first beat. A shorter
movement on the second (shorter) beat of 5/8 could use a reverse direction(i.e. at longer beat
arms move to the left and on the shorter beat to the right).
A passage in measures measures 174-185 takes us to the fields where the main activity of season
continues.
36
Section G-(Theme I)- Plowing the neighbour’s land.
Plowing continues as several farmlands in in the village should be done. The theme of
Section A receives a direction to the minor mode, still reflecting the same activity, plowing.
Rhythmically it is a repeat of Section A that ends in the same heightened mood of collective
work.
Section H- (Theme II)- Celebration of the work season.
The celebration theme that starts in measure 211, is the theme from Section B which is
modulated to g major and embellished. This is a happier version of the Section B theme as the
hope of rich harvest comes even closer. There is active change in the accompaniment, a colourful
quartal harmony,emphasizing the mood of happiness as more work is complete (mm 208-234).
The cadence at the end of the section is different but equally celebratory as in section B.
Section I- (Theme III)- Returning home.
Theme III is simulated rhythmically and used in a varied manner. Some laborers return
home after a tiring day. The slow movement reflects the walk to the village. Nevertheless the
workers are happy having accomplished some work.
Section J -(Theme II)- Celebration at the church backyard.
In the village the laborers are met by all the other folks. Elderly women, maidens and
young men, people in blacksmith’s shop, everyone gather in the church backyard to celebrate.
This last Theme uses a fragment of Theme II in syncopated version, a rhythmic chaos, as people
are tired but still energetic. It ends up in an even a bigger cadence, as the whole village is
celebrating (measures 241-286).
37
In the following figures show the two folk songs that served as source of inspiration to
two important themes used in “Villagers at Work”. Figure 10a used in introductory section and
Figure 10b is the melody from which Theme II, the “celebration of the work season” obtained.
Figure 10a: Armenian labour song (Atayan 1969, 214). See Appendix A pg.81, Fig. 11 for full
page.
Figure 10 b: Armenian labour song (Atayan 1969, 72). See Appendix A pg 82, Fig. 12 for full
page.
38
III.4. ORCHESTRATION AND INSTRUMENTATION
i- INSTRUMENTATION
Woodwinds:
Brass:
Percussion:
Strings:
2 Flutes
2 Horns in F
3 Timpani
Violins I
2 Oboes
2 Trumpets
1 Cymbal
Violins II
2 Clarinets in Bb
2 Tenor Trombones
1 Tubular Bells
Violas
2 Bassoons
1 Tuba
Cellos,Contrabasses
Table 2: List of instruments used in the score
ii- HOW INSTRUMENTATION SUPPORTS THE PROGRAM
“Villagers At Work” uses instrumental colours to help with the descriptive nature of this
orchestral suite. Some important instrumental colours are cited below.
1.Theme I in Sections A and G is in low strings describing the plowing by oxen.
2.Theme II in Sections B, H and J is at brass with trombones and trumpets then
responded by woodwinds with oboes and flutes reflecting the happy mood of the season.
3.Theme III in Sections C, D, F and I played softly with strings or woodwinds to picture
the light labour engaged in by women or a relaxed time.
4.Theme IV in Section E in carried by trumpets and then the strings. Accompanying
tubular bells with the participation of timpani simulates a blacksmith shop environment.
5.Theme V in section F a delicate but somehow energetic dance is played by strings
section.
6.In Section D clarinet’s sixteenth note figure provides the effect of youthful energy.
Same accompaniment is used in Section B by the string sections.
39
CONCLUSION
I have no doubt that the musical ideas inspired by traditional Armenian folk music may
sound good in many types of compositional perspectives or systems.
I think quartal harmony, with a sense of harmonic function, provides the effect of "ancientness"
that is the spirit of this composition. Apparently, there are a variety of applications of quartal
Harmony that would result in some divergent outcomes.
Instrumentation becomes a tool to establish a picture of sounds in each section. Certainly
it would be appropriate to use some folk instruments, but that exceeds the intentions of this
composition. My aim is to bridge the gap between western art music and Armenian folk
traditions. Using symphonic orchestra for this composition facilitates the transition from folk to
art music providing a medium that would speak to an audience of classical music.
40
Hagop Dugmeciyan
VILLAGERS AT WORK
{C SCORE}
INSTRUMENTATION
Woodwinds
2 Flutes, 2 Oboes, 2 Clarinets in Bb, 2 Bassoons
Brass
2 Horns in F, 2Trompets in Bb, 2 Tenor Trombones, Tuba
Percussion
3 Timpani, 1 Cymball, 1 Tubular Bells
Strings
Violins I, Violins II, Violas, Contrabasses
PROGRAMME NOTES
"Villagers At Work" is an Orchestral Suite that describes
some daily labour activities in a typical Armenian village
of Anatolia during 20th century. It is a picture of the rural
life of these indastrious poeople, Armenians, original native
people of Eastern Anatolia. The performance of this piece
should reflect the dynamic energy and spirit of the people
it exhibits.
DURATION: 10 minutes
41
VILLAGERS AT WORK
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∑
∑
∑
&
∑
∑
∑
∑
∑
∑
∑
∑
?
∑
∑
∑
∑
∑
∑
∑
∑
?
∑
∑
∑
∑
∑
∑
∑
∑
‰Œ
∑
∑
Cl.
Bsn.
¢
Hn.
Tpt.
Tbn.
Tba.
¢
Timp.
Cym.
Tub. B.
Vln. I
°?
¢ œ
j
œ œ
°/
∑
∑
∑
∑
∑
∑
∑
∑
¢&
∑
∑
∑
∑
∑
∑
∑
∑
° œ œ
& J
œ
œ
#œ
j
œ œ
œ
œ
œ
J
j
œ œ
œ #œ
J
œ
œnœbœbœ œ
j
œ œ
œ
œ œbœ œn œ
œ
j
œ œ
‰
Œ
j
œ ‰
‰ ‰
j
œ œœœœ œœœœœœœœœ
‰ ‰ œj œ œ œ œ
mp
‰ œj œ
Ϊ
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œbœ
Vln. II
œ œ œ œ œ bœ œbœ œ œ
œ ‰ ‰ Œ
J
mf
B Ϫ
Vla.
bœ
Ϫ
#œ
nœ ™
j ‰ ‰
œ
œ
‰ ‰ œj œ œ œ œ
mp
‰ nœ œ œ œ œ œbœ bœ œ
œ ‰
J
œ œœœœ œœœœœœœœœ
J
‰ ‰ œJ œ œ œ œ
mf
mp
?
∑
∑
Ϊ
j
œ
‰
Vc.
bœ
œbœ œ œ œ
œ
œ
œ bœbœ œ œ
œ
œbœ œbœnœ œ œ bœ
. . .
n>œ œ
J
œ œ. œ. œ. œ.
>œ
J œ
œ œ. œ. œ. œ.
marcato f
mf
?
∑
∑
∑
∑
∑
Cb.
¢
‰ ‰
j
œ. œ. œ. bœ
marcato f
44
Fl.
Ϊ
32
°
& Ϊ
Ϊ
œ œ # œj
‰‰ ‰
‰‰Œ
‰‰‰Œ
>j
‰ #œJ #œ ™™
‰ >
Ϊ
>
œ œ #œ ™™
>
>
#œ # œ ™
œ œ #œ ™
>
>
œ œ ## œœ™™
œ œ 4
> 8
>
œ œ
>
>
œ
œ œ
>
>
œ œ #œ ™
œ œ 48 #œ ™
>
>
b œœj n ˙
J n˙
>
mf
œj
& Ó ‰ ‰ Œ ‰
Ob.
>
‰ bœ œ œj ‰ ‰ ‰ nœj
‰ ‰ Œ™
‰ J
>
Ϊ
Ϊ
n ˙˙
f
œ ™™
œ ™™
Ϫ
Ϫ
>j
œ
bœ n˙˙
J
>
˙
n˙
f
mf
mf
&
Cl.
∑
∑
>
‰ #œj #œ™
‰ J
>
Ϊ
Ϊ
>
œ œ #œ™
>
>
œ œ #œ ™
#œ #œ ™
>
>
bœj n˙
bœJ ˙
>
>
œ œ 48 #œ ™
œ œ #œ ™
>
œ
œ
œ
œ
f
mf
?
∑
∑
Bsn.
¢
>
‰ #œj #œ ™™
‰ >J
Ϊ
Ϊ
>
œ œ #œ ™™
>
>
œ œ #œ ™
#œ # œ ™
>
>
œ œ 4 #œ ™
nœ œ 8 #œ ™
>
>
bœj
bœJ
>
>
™
œœ œœ 4 ## œœ™
> 8
>
b œj ˙
bœ n˙
J
>
mf
°?
∑
∑
Hn.
f
>
# œœj ## œœ™
#
™
‰ J
‰ >
Ϊ
Ϊ
>
œœ œœ ## œœ™™
>
>
œœ œœ ## œœ™™
>
mf
mf
Tpt.
&
∑
∑
Ϊ
Ϊ
?
∑
∑
Ϊ
Ϊ
Tbn.
>
œœ œœ #œœ ™™
>
>
œœ œœ #œœ ™™
>
>
œœ œœ 48 ##œœ ™
™
>
>
œ œ #œ ™™
>
>
œ #œœ ##œ™
Ϫ
>
>
Ϫ
œœ #œœ 48 ##œ™
>
œ >œ #œ ™
œ >œ #œ ™
4
œ >œ 8 #œ ™
>
bœj ˙
b œ n˙
J
> f
>
bœj n˙
bœJ n˙
> f
mf
?
∑
∑
Ϊ
‰
¢
j
#>œ #œ ™
°?
¢
∑
∑
∑
∑
Cym.
°/
∑
∑
∑
∑
¢&
∑
∑
∑
∑
°
& œœœœœœœœœ
˙
n˙
n˙
f
Timp.
Vln. I
˙
˙
j
b >œ n ˙
mf
mf
Tub. B.
n ˙˙
f
>
‰ #œœj #œœ ™™
‰ J
>
mf
mf
>j
‰ #œ #œ ™™
‰ >J
Tba.
˙
˙
˙
˙
∑
4
8
∑
∑
∑
∑
∑
4
8
∑
∑
∑
∑
∑
4
8
∑
∑
∑
Ϊ
‰ ‰
b œ œ œœœœ œœœœ œœœœ œœœœ
‰ ‰ œj œœœœ œœœœœœœœœœ #œ œœœœœœœœœ #œ œœœœœœœœœ œœœœœœ#œ œœœ 48 #œ œœœœœ
f
Vln. II
& œœœœœœœœœ
‰ ‰ œj œœœœ œœœœœœœœœœ œœœœœœœœœœ #œ œœœœœœœœœ #œ œœœœœ œœœœ 48 œœœœœœ bœ œ œœœœœœœœ œœœœœœœœ
f
B œœœœœœœœœ
Vla.
‰ ‰ œJ œœœœ #œ œœœœœœœœœ #œ œœœœœ œœœœ œœœœœœœœœœ œœœœœœ œœœœ 48 œœœœœœ bœ œ œœœœœœœœ œœœœœœœœ
f
Vc.
? bœ
>œ
J œ
bœ œ. bœ. œ. œ. #œ œ œ
#>œ #œ ™
J
œ >œ #œ ™
œ >œ #œ ™
œ >œ 4 #œ ™
8
j
b>œ nœ œœœœœœœ œœœœœœœœ
f
Cb.
?
¢ bœ
>œ
J œ
bœ œ. bœ. œ. œ. #œ œ œ
#>œ #œ ™
J
œ >œ #œ ™
œ >œ #œ ™
œ >œ 4 #œ ™
8
j
b>œ nœ œœœœœœœ œœœœœœœœ
f
45
q=110 Energico
Fl.
° b ˙˙
&
b œj
œ ‰ ‰
J ‰ ‰
>j
œ b˙
œ ˙
J
> ff
>
b œj
œ ‰ Œ
J ‰ Œ
>
B
4
4
Ob.
˙
& b˙
œj
bœ ‰‰ ‰‰
J
>j
œ ˙
œ b˙
J
> ff
>j
œ
bœ ‰‰ ŒŒ
J
>
˙
& ˙
>
œj ‰ ‰ œj ˙
œJ ‰ ‰ œ ˙
J
> ff
>j
œ ‰ Œ
œJ ‰ Œ
>
? bb˙˙
œj ‰ ‰
œ ‰ ‰
J
>j
œ ˙
œ ˙
J
> ff
>j
œ ‰ Œ
œ ‰ Œ
J
>
4 ‰ j
4 Ó œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œj ‰œ Œœ œ Óœ œ œ œ
Ó
mp
>j
œœ
J‰ Œ
>‰ Œ
.
.
œœj œœj
b
4 J ‰ J ‰
4. ‰ . ‰
41
Cl.
Bsn.
¢
>j
œœj
œœ ˙˙
J ‰ ‰ J
‰ ‰ >
˙
°? b ˙
Hn.
∑
∑
∑
∑
4
4
∑
∑
∑
∑
4
4
∑
∑
∑
∑
1.
ff
œ
& ˙
Tpt.
œ
? b˙
b˙
Tbn.
>j
j
bœœ ‰‰ ‰‰ œœ
J
J
>
>
œœj ‰ ‰ œœj
J ‰ ‰ J
>
b˙˙
ff
˙˙
?
j‰ ‰ j
œ
>œ ff˙
¢
b˙
Timp.
°?
¢
∑
∑
2.
.
.
.
œœj œœj b œœj
‰ ‰
‰
.J ‰ .J ‰ .J ‰
.
.
œœj œœj
‰ ‰
.J ‰ .J ‰
.j
.
œœj b œœ
‰
‰
.J ‰ .J ‰
.
.
œœj œœj
‰ ‰
.J ‰ .J ‰
.
.
œœj
œœj
‰ J ‰
.J ‰ . ‰
.j
.j
œœ ‰ œœ ‰
J J
. ‰ . ‰
.j
œœ ‰
J
. ‰
œ œ œ
œ œ œ
œ
œ
œ œ œ
œ œ œ
Œ
Œ
œ œ
œ œ
mp
>j
bœœ ‰‰
J
>
>j
œœ ‰
J ‰
>
œ
œ
Œ
Œ
4
4
Œ
Œ
.j
.j
.j
.j
.j
.j
.j
.j
.j
.j
.j
.j
.j
.j
.j
.j
4 ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ
4 ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
Ó
Ó
∑
Œ
Œ
Œ
Œ
mf
ff
Tba.
Celebration of the work season
mp
j‰ Œ
>œ
4 j‰ j‰ j‰ j‰
4 œ œ œ œ
j‰ j‰ j‰ j‰
œ œ œ œ
j‰ Œ
œ
j‰ Œ
œ
j
œ ‰ Œ
j
œ ‰ Œ
mf
Ÿ~~~~~~~~~~~ j
˙
œ ‰ Œ
>
4
4
∑
∑
∑
∑
∑
∑
∑
∑
ff
°
Cym. /
∑
∑
˙
j
œ ‰ Œ
B
4
4
bœ ‰ Œ
J
4
4
∑
∑
∑
∑
>œ
J ‰ Œ
4
4
∑
∑
∑
∑
b>œ ‰ Œ
J
4
4
∑
∑
∑
∑
>œ
J ‰ Œ
4
4
∑
∑
∑
∑
j
œ ‰ Œ
>
4
4
∑
∑
∑
∑
j
œ ‰ Œ
>
4 œ ‰ j‰ œ ‰ j‰
4 J œ J œ
q=110 Energico
ff
Tub. B.
¢&
∑
∑
b˙
ff
Vln. I
° œ œ œ œ œ œ œ œ bœ ‰ ‰ >œ ˙
&
J
J æ
ff
Vln. II
>
& bœ œ œ œ œ œ œ œ bœJ ‰ ‰ œJ bæ˙
æ
ff
Vla.
>
B œ œ œ œ œ œ œ œ œJ ‰ ‰ œJ ææ˙
ff
Vc.
? bœ œ œ œ œ œ œ œ œj ‰ ‰ œj ˙ææ
>
ff
pizz.
Cb.
j
j ææ
?
¢ bœ œ œ œ œ œ œ œ œ ‰ ‰ >œ ˙
ff
mf
46
œ ‰ j‰ œ ‰ j‰
J œ J œ
œ ‰ Œ
J
j‰ Œ
œ
œ ‰ Œ
J
j
œ ‰ Œ
49
Fl.
°
&
∑
Ó
œ œ
‰ ##œœ œ œ
Œ
œ
œ
œ
œ
œ nœ
œ nœ
œ
œ
Œ
Œ
œœ
œœ
œ
œ
œ
œ
œ
œ
œœ
œœ
œ œ œj ‰
œœ œ
Œ
œ œ
œ œ
œ
œ
œ
œ
œ nœ
œ nœ
œ
œ
Œ
Œ
œœ
œœ
œ
œ
œ
œ
œ
œ
œœ
œœ
œ œ œj ‰
œœ œ
Œ
œ œ
œ œ
mf
∑
&
Ob.
Ó
œ œ
‰ ##œœ œ œ
Œ
mf
Bsn.
¢
Hn.
∑
&
Cl.
∑
? bÓœ œ œ œ Óœ œ œ œ Ó œ œ Ó œ œ
œ œ œ œ
.j
°? b œœ ‰
.J ‰
.
œœj
‰
.J ‰
.
œœj
‰
.J ‰
.
. .
œœj b œœj œœj
‰
‰ ‰
.J ‰ .J ‰ .J ‰
.
œœj ‰
.J ‰
.
œœj ‰
.J ‰
‰‰ Œ
œJ ‰ Œ
∑
∑
∑
Ó
Ó
∑
∑
∑
∑
œœ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ bœœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ bœœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœœœ‰ œœœœ‰ œœœœ‰ œœœœ
‰
‰
‰
‰
‰
‰
‰
‰ ‰
‰ ‰
‰
‰
‰
‰
mf
œ
& œ
Tpt.
œ
œ
œ
œ
.j
? ‰ œœ ‰
‰ .J ‰
.
œœj ‰
.J ‰
œœ œ
œœ œ
œ œ œj ‰ œ œ
œœœ‰œœ
J
j
‰
‰
‰
‰
‰
‰
‰ ‰
‰ ‰
‰
‰
‰
‰
œ‰ ‰
œJ ‰ ‰ œœœœ‰ œœœœ‰ œœœœ ‰ œœœœ‰ œœœœ‰ œœœœ‰ œœœœ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ
œœ œœ œœ œœ œ œ œ œ œ œ œ œ
mf
Tbn.
Tba.
¢
? bœj ‰ Œ
.
œœj ‰
.J ‰
.
.
œœj ‰ œj ‰
œ
.J ‰ .J ‰
j
œ‰ Œ
j
œ‰Œ
.
œœj ‰
‰
.J
.
œœj ‰
‰
.J
.j j
œœ œœJ‰‰ ŒŒ
.J
j
œ‰Œ
j
œ‰ Œ
Ó
Ó
j‰
œ
∑
Œ
j
œ‰
Œ
j‰
œ
Ó
Ó
∑
Œ
j
œ‰ Œ
j‰ Œ
œ
j‰
œ
Œ
Œ
Œ
œœ
‰ œœ
j‰
œ
Œ
°?
¢
∑
∑
∑
∑
∑
∑
Timp.
Cym.
°/
∑
∑
∑
∑
∑
∑
¢&
∑
∑
∑
∑
∑
∑
°
&
∑
∑
∑
∑
∑
∑
Vln. I
&
∑
∑
∑
∑
∑
∑
Vln. II
B
∑
∑
∑
∑
∑
∑
?
∑
∑
∑
∑
∑
∑
Tub. B.
Vla.
Vc.
Cb.
¢
? bœJ ‰ Œ bœj ‰ Œ
œ‰Œ
J
j
œ‰Œ
œ‰ Œ
J
œ‰
J
Œ
œ‰
J
47
Œ
œ‰
J
Œ
œ‰ Œ
J
œ‰ Œ
J
œ‰
J
Œ
œ‰
J
Œ
Fl.
j
55
œœ œœ œœ œœ
° œ œœ œœ‰ œœ œœ‰ œœ œœ‰ œœ œœ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ b œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ b œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ bbœœ ‰
& œ
J ‰
‰
‰
‰
‰
‰
‰
‰
‰
‰
‰
‰
‰
‰
‰
‰
Œ
Œ
Ó
Ó
Œ
Œ
Ó
Ó
mf
j
œœ œœ œœ œœ œœ œœ œœ œœ
& œœ œœ œœ ‰‰ œœ œœ ‰‰ œœ œœ ‰‰ œœ œœ ‰‰ bœ œ ‰‰ œ œ ‰‰ œ œ ‰‰ œ œ ‰‰ bœ œ ‰‰ œ œ ‰‰ œ œ ‰‰ œ œ ‰‰ bœœœœ‰‰ œœœœ‰‰ œœœœ‰‰ œœœœ bœœJ ‰‰
Ob.
mf
& œj œœ œœ ‰‰ œœ œœ ‰‰ œœ œœ ‰‰ œœ œœ ‰‰ œœ œœ ‰‰ œœ œœ ‰‰ œœ œœ ‰‰ œœ œœ ‰‰bbœœ œœ ‰‰ œœ œœ ‰‰ œœ œœ ‰‰ œœ œœ ‰‰ œœ œœ ‰‰ œœ œœ ‰‰ œœ œœ ‰‰ œ œ bœ œ œ œ œ œ œ n œ œœ œ œœ œ œœ œ œ œœ
J
œ œ b œ œ bœ œ bœ œ œn œ œ œ œ œ
Cl.
mf
mf
Bsn.
¢
? j‰
œJ ‰
Œ
Œ
j‰
œJ ‰
Œ
Œ
j
bœJ ‰‰ ŒŒ
j‰ Œ
œJ ‰ Œ
j‰ Œ
œJ ‰ Œ
j‰ Œ
œJ ‰ Œ
j‰
œJ ‰
Œ
Œ
j‰
œJ ‰
‰ œ œ bbœœ œbbœœ œbbœœ œ œ nnœœ œœ œœ œœ œœ œœ œ œœ œœ
œ œ œœ
œ
‰ œœ
mf
Hn.
°? œj ‰
œ‰
J
& œj ‰‰
J
œj
? œ‰
J ‰
Tpt.
Tbn.
mf
Œ
Œ
Ó
Ó
∑
∑
∑
‰
‰
‰
‰
Œ
Œ
Ó
Ó
Œ
Œ
Ó
Ó
∑
∑
∑
‰
‰
Œ
Ó
œ
œ
œ
œ
bœj ‰
bœJ ‰
Œ
Œ
Ó
Ó
Œ
Ó
∑
∑
∑
‰
Œ
Ó
œ
bœ œœ
œ bœ œj ‰ Œ
œ œ nœJ ‰ Œ
œœ œœ
œ
œ
œ
œ
œ
œ
œ
bœ
bœ bœœ œ
œœ nœ œœ
œœ
œ bœ
mf
Tba.
¢
? j‰
œ
‰
°?
¢
∑
∑
∑
∑
∑
Timp.
Cym.
°/
∑
∑
∑
∑
∑
¢&
∑
∑
∑
∑
∑
°
&
∑
∑
∑
∑
∑
Vln. I
&
∑
∑
∑
∑
∑
Vln. II
B
∑
∑
∑
∑
∑
?
∑
∑
∑
∑
∑
Tub. B.
Vla.
Vc.
Cb.
¢
? œ‰
J
Œ
œ‰
J
Œ
bœ
J ‰ Œ
œ‰ Œ
J
œ‰ Œ
J
j
œ‰ Œ
mf
48
œ‰
J
Œ
j
œ‰
Œ
∑
60
Fl.
° Ó
& Ó
Œ
Œ
n˙
œ œ œ b œ n œ œ # œ n œ bœ n œ œ # œ
‰ nœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œœ œ œœ œ œœ œœ œ nœ œ #œ nœ bœ nœ œ #œ n˙
‰
œj
nœ ‰
J‰
>
n œj
‰ œJ
‰>
n˙
n˙
#˙
#˙
˙
˙
˙
˙
>
œj œj
œ‰ ‰ œ
J‰‰J
>
#˙
#˙
n˙
n˙
>
œj ‰ ‰ bœj
œJ ‰ ‰ bœJ
>
˙
˙
#˙
#˙
>j
#œj ‰ ‰ œ
#œJ ‰ ‰ œJ
>
n ˙˙
n ˙˙
n˙˙
n˙˙
˙˙
#˙˙
˙
#˙
Ó
Ó
j
j
#œ ‰ ‰ >œ
Ó
Ó
j >j
œ‰ ‰ œ
Ó
Ó
j
j
œ‰ ‰ œ
>
mf
mf
& ÓÓ
Ob.
Œ
Œ
‰
‰
œ ˙
œ œ #œ œ œœ bbœœ nnœœ 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 œœ œ œ œ œ œ œ œ œ œ œ œ œ #œ
mf
mf
œj
& œœ œœ œœ œœ œœ œ œœ œœnbœœnœœ bœœnœœ œœ #œœnœœ #œœ nœJ ‰‰ ŒŒ
œ
Cl.
Ó
Ó
œ ˙
œ œ #œ œ œœ bbœœ nnœœ œ ˙
œ œ#œ œ
Ó
Ó
f
mf
mp
Bsn.
j
œœ œ
? œœ œœ œœ œœ œœ œœ œœ œœ bœœnœœbnœœnœœ œœ #œœ œ #œ œJ ‰ Œ
¢
‰ Œ
Ó
Ó
Ó
Ó
œ bœ nœ œ ˙
œ bœ nœ œ ˙
Œ
Œ
f
mp
mf
œ
°?
∑
Ó
Ó
∑
Hn.
œœ
Œ
Œ
mp
&
Tpt.
∑
Ó
Ó
∑
? ∑
∑
Tbn.
Œ
Œ
#bœœ
œœ
œœ
œ
œ
#œœ
bœœ
œ
?
∑
˙˙
mf
bœœ
bœœ
˙˙
mp
Œ
œ
#œ
œ
œ
œ
bœ
œ
˙
mp
Timp.
°?
¢
∑
>j
œœj ‰ ‰ bœœ
J‰ ‰ J
>
>
j œj
œ ‰‰ ‰‰ œ
J
J
>
mf
Tba.
¢
œœj >œj
J ‰ ‰ œJ
‰‰>
mf
mp
œœ
n ˙˙
j‰ ‰ j
#œ
>œ
mf
∑
∑
˙
mf
Cym.
°/
∑
∑
˙
∑
mf
Tub. B.
¢&
∑
∑
˙
∑
mf
Vln. I
°
&
∑
∑
Ó
œ œ œœ œ œœ œ#œ œœ œ œœ œ œ nœ œ œœ œ œœ œ œ b>œ
bœ œ œ œ
J‰‰J
Œ
mp
&
Vln. II
∑
∑
Ó
mf
>
bœ œ œ œ œ œ œœ œ œœ œ œ œœ œ œœ œ œ œ œ œœ œ œœ œ œ ‰ ‰ œJ
J
Œ
mp
B
∑
∑
Ó
mf
œ œ œœ œ œœ œ œ œœ œ œœ œ œ #œ œ œœ œ œœ œ œ ‰ ‰ >œ
bœ œ œ œ
J
J
Œ
Vla.
mp
mf
arco
?
∑
∑
Ó
Œ
Vc.
œ
œ
j
j
œ œ œœ œ œœ œ œ œœ œ œœ œ œ #œ œ œœ œ œœ œ œ ‰ ‰ >œ
mf
arco
?
∑
∑
Ó
Œ
Cb.
œ
¢
œ
j
j
œ œ œœ œ œœ œ œ œœ œ œœ œ œ #œ œ œœ œ œœ œ œ ‰ ‰ >œ
mf
49
œj
° œJ ‰ Œ Ó
& ‰Œ Ó
Fl.
>
œj ‰ ‰ œj ˙
œ
œ #˙
J ‰‰J
> ff
˙
˙
>j
>j
œ
nœ ‰ Œ bœœJ ‰ Œ
J ‰Œ >‰ Œ
>
>j
œ‰Œ Ó
œ
J ‰Œ Ó
>
6
8
n˙˙
>j
j
œ
‰
‰
bœ ‰ ‰ œœ b˙˙
J
J
> ff
˙˙
>j
>j
>j
œ
œ
‰
Œ
‰
Œ
bœ ‰ Œ œ ‰ Œ bœœ ‰‰ ŒŒ ÓÓ
J
J
J
>
>
>
6
8
˙
˙
j ‰ ‰ >j
œ ˙
Ӝ
œ
œ ˙
˙
˙
j
œ ‰ Œ œj ‰ Œ
>œ
>œ
∑
n˙
˙
˙
˙
˙
˙
∑
b˙˙
b˙˙
˙
˙
˙
˙
65
f
œj
& œJ ‰‰ ŒŒ ÓÓ
Ob.
f
bœj
& bœ ‰‰ ŒŒ ÓÓ
J
Cl.
∑
f
j
œ‰Œ Ó
>œ
6
8
ff
Bsn.
j
? œ‰Œ Ó
œ
¢ J‰Œ Ó
∑
b˙
b˙
˙
˙
n˙
n˙
n ˙˙
n ˙˙
n ˙˙
>j
j
œ ‰‰ ‰‰ œ #˙
œJ
œJ # ˙
> ff
>j
œœj
œœ ˙˙
J‰ ‰ J
‰‰ >
f
Hn.
j
°? œœ ‰ Œ Ó
J‰Œ Ó
∑
˙
˙
˙˙
>j
nœ ‰‰
# œJ
>
>j
œœ
J‰
>‰
Œ >œj ‰ Œ
Œ ‰Œ
œJ
>
>j
œ
bœ
Œ J‰Œ
Œ >‰ Œ
>j
bœœ ‰‰
J
>
>
n œj ‰
#œ
J ‰
>
>
Œ bœœj ‰
Œ J‰
>
>j
Œ œ‰
Œ œJ ‰
>
>j
œ ‰‰
œJ
>
>j
œœ
J‰
>‰
Œ Ó
Œ Ó
6
8
Œ Ó
Œ Ó
6
8
Œ Ó
Œ Ó
6
8
Œ Ó
Œ Ó
6
8
j‰ Œ Ó
>œ
6
8
ff
f
bœj
& œJ ‰‰ ŒŒ ÓÓ
Tpt.
b˙˙
˙˙
n˙˙
œ œ œ œ œœ œœ œ œœ œ ˙
œ bœ ˙
œ œ bœ œ
b˙
b˙
n˙
n˙
b˙
n˙
∑
>j
j
bœœ ‰‰ ‰‰ œœ b#˙˙
J
J
> ff
>
œj ‰ ‰ œj # ˙
œ ‰ ‰ œ #˙
J
J
> ff
f
? œ
œ
Tbn.
f
Tba.
¢
? j‰ Œ Ó
œ
∑
b˙
j‰ ‰ j
œ
>œ # ˙ff
n˙˙
˙˙
˙
>j
Œ bœœ ‰
Œ J ‰
>
>j
Œ œœ ‰
Œ J ‰
>
j ‰ Œ j‰ Œ
#>œ
>œ
f
Timp.
°? j ‰ Œ Ó
¢ œ
∑
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
j
j
j‰ Œ Ó
w
˙
œ ‰ ‰ >œ w
w
>
>œ
6
8
ff
f
Cym.
° / œj ‰ Œ Ó
∑
Ó
Ó
>j
j
œ‰‰œ ˙
Ó
˙
>j
>j
œ‰Œ œ‰Œ
>j
œ‰Œ Ó
6
8
˙
b>œ ‰ Œ œj ‰ Œ b>œ ‰ Œ Ó
J
J
>
6
8
ff
f
Tub. B.
j
¢& œ ‰ Œ Ó
∑
Ó
Ó
j
j
œ ‰ ‰ >œ b˙
Ó
ff
f
Vln. I
° bœ ‰ Œ Ó
& J
∑
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œnœ
>
>
>
J ‰ ‰ œJ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœJ ‰ Œ bœJ ‰ Œ
>œ
J ‰Œ Ó
6
8
œ 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 bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ j ‰ Œ j ‰ Œ b>œ ‰ Œ Ó
œ
J
J
J
>œ
>
6
8
ff
f
& œJ ‰ Œ Ó
Vln. II
∑
ff
f
œ
B J‰Œ Ó
∑
Vla.
œ œ 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 œ œ œ œ œ œ œ œ œ œ œ œ œ >œ ‰ Œ >œ ‰ Œ
J
J
>œ
J ‰Œ Ó
6
8
j
œ‰Œ Ó
>
6
8
j
œ‰Œ Ó
>
6
8
ff
f
? j‰ Œ Ó
œ
Vc.
∑
j
j
j
>
bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ ‰ ‰ >œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œJ ‰ Œ >œ ‰ Œ
ff
f
Cb.
¢
? j‰ Œ Ó
œ
∑
j
j
j
>
bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ ‰ ‰ >œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œJ ‰ Œ >œ ‰ Œ
ff
f
50
Allegro Grazioso e=180
C
Women spinning wool
œ
72
1.
Fl.
° 6‰
& 8 #œ œ œ œ œ
œ
Ϫ
œ
J
Ϫ
j
œ ‰ ‰ Œ™
Ϊ
Ϊ
∑
bœ
J
mp
1.
Ob.
6
&8
∑
∑
‰ œ œ
œ œ œ
œ
Ϫ
j
œ
j
œ ‰ ‰ Œ™
Œ
‰ œ™
mp
1.
Cl.
6
&8
∑
∑
∑
‰
œ œ œ œ œ
Ϫ
œ
Ϊ
Ϊ
j
œ
˙™
mp
1.
Bsn.
?6
¢ 8
∑
‰ œ œ œ œ œ
Ϫ
œ
œ
J
œ ‰ ‰ Œ™
J
œ
j
œ œ œ bœ
mp
°? 6
8
∑
∑
∑
∑
∑
∑
Hn.
6
&8
∑
∑
∑
∑
∑
∑
Tpt.
?6
8
∑
∑
∑
∑
∑
∑
Tbn.
?6
¢ 8
∑
∑
∑
∑
∑
∑
Tba.
°? 6
¢ 8
∑
∑
∑
∑
∑
∑
Timp.
∑
∑
∑
∑
∑
∑
6
¢& 8
∑
∑
∑
∑
∑
∑
° 6
&8
∑
∑
∑
∑
∑
∑
Vln. I
6
&8
∑
∑
∑
∑
∑
∑
Vln. II
B 68
∑
∑
∑
∑
∑
∑
Vla.
?6
8
∑
∑
∑
∑
∑
∑
Vc.
?6
¢ 8
∑
∑
∑
∑
∑
∑
Cb.
C
6
°
Cym. / 8
Tub. B.
Allegro Grazioso e=180
51
78
Fl.
° œ™
&
œ œ œ™
œ
J
J ‰‰
Ϫ
œ œ #œ
J
œ œ œ œ œ œ™
#œ œ œ™
J
mf
˙™
œœœœœ
&
Ob.
œ #œ ™
nœ œj œ œj #œ œ œ œ ™
mp
mf
œ
‰ ‰ J #œ bœJ œ bœJ œ œJnœ ™
mp
œ œj œ ™
œ ‰ œJ#œ œ œ œ œ bœj
J
J
J
mf
Ϊ
∑
Œ
‰Œ
j
œ œ #œj œ œj bœ œj bœ ™
mp
mf
& nœ
Cl.
œ œ œ œ œ œ œ œ œ œ n œj œ™
˙™
œ œ œbœ œ
? ˙™
Ϫ
¢
Ϊ
œ œ œ œ™
mf
∑
Œ
‰ Œ
j
œ
mp
œ œj œ ™
Ϫ
#œ ™
œ œj œ™
Ϊ
mp
‰ œœœœœ œœœœœœ œœœœœœ
#œ œ œ œ œ œ
pp
1.
°?
œ œ œj œ bœ œ œj œj ‰ ‰ Œ ™
J
J
Œ
mf
mf
Bsn.
j
#œ œ #œ ™
∑
∑
∑
∑
∑
‰
Hn.
2.
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œj œ œ
J
pp
&
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
?
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
?
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
°?
¢
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Timp.
Cym.
°/
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
¢&
∑
∑
∑
∑
∑
∑
∑
∑
Tpt.
Tbn.
Tba.
¢
Tub. B.
‰ œ œ œ œ œ ˙™
mp
Vln. I
°
&
∑
∑
∑
∑
∑
∑
‰ bœ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
pp
Vln. II
&
∑
∑
∑
∑
∑
∑
B
∑
∑
∑
∑
∑
∑
‰
‰ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ
pp
divisi
Vla.
‰ œœœœœ œœœœœœ
œœœœœœ œœœ œœœ
‰ bœ œ œ œ œ nœ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ
pp
?
∑
∑
∑
∑
∑
∑
Vc.
‰ œœœœœ œœœœœœ œœœœœœ
#œ œ œ œ œ œ
p
?
∑
∑
∑
∑
∑
∑
‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ
Cb.
¢
pp
52
88
Fl.
° œ™
&
œ ‰ ‰
J
Ob.
& œj ‰ ‰ Œ ™
Cl.
&
∑
6
8
∑
∑
∑
∑
6
8
∑
6
8
∑
∑
∑
∑
6
8
2.
mf
œ
j
œ #œ
j
nœ #œ
j
œ œ™
6
8
œ œ œ
œ
j
œ
œ œ œ
œ
j
œ
6
8
‰ ‰
˙™
Ϫ
œ œ
pp
mf
?
Bsn.
¢
œ œ œ œ œ œ
6
œ œ œ œ œ œ 8 œœ ™
j
œ œ œ
œ œ œœ
œœ™
œ œ œ
œj
œ œ œ
Ϫ
˙™
œ œ œ
Ϫ
˙™
Ϫ
6
8
mf
°? œ œ œ œ œ œ
Hn.
œ œ œ œ œ œ 6œ
8 J ‰ ‰ Œ™
∑
∑
∑
6
8
&
∑
∑
6
8
∑
∑
∑
∑
6
8
?
∑
∑
6
8
∑
∑
∑
∑
6
8
?
∑
∑
6
8
∑
∑
∑
∑
6
8
°?
¢
∑
∑
6
8
∑
∑
∑
∑
Timp.
6
8
Cym.
°/
∑
∑
6
8
∑
∑
∑
∑
6
8
¢&
∑
∑
6
8
∑
∑
∑
∑
6
8
‰
∑
∑
∑
6
8
Tpt.
Tbn.
Tba.
¢
Tub. B.
Vln. I
°
& œ œ œ œ œ œ
& œ œ œ œ œ œ
6
‰ ‰ ‰ ‰ ‰
œ œ œ œ œ œ 8 œj Ó
∑
∑
∑
Vln. II
6
8
B œ œ œ œ œ œ
œ œ œ œ œ œ
6 j
œœ œœ œœ œœ œœ œœ 8 œœ Ó
J Ó
‰
‰
∑
∑
∑
Vla.
6
8
?
6
œ œ œ œ œ œ 8 œj Ó
‰
∑
∑
∑
6
8
œ œ œ œ œ œ 6œ Ó
8J
‰
∑
∑
∑
6
8
Vc.
œ œ œ œ œ œ
? œ œ œ œ œ œ
Cb.
¢
6 j
œ œ œ œ œ œ 8œ Ó
53
Fl.
D
94
° 6Ó
&8
Ob.
6
&8
Women carrying jugs of water
‰
∑
‰
∑
∑
∑
∑
∑
∑
∑
∑
1.
Cl.
Bsn.
6
&8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 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
p
œj
?6
‰
¢ 8 œJ ‰
‰
‰
Ϊ
Ϊ
∑
∑
∑
∑
p
°? 6
8
∑
∑
∑
∑
∑
Hn.
6
&8
∑
∑
∑
∑
∑
Tpt.
?6
8
∑
∑
∑
∑
∑
Tbn.
?6
¢ 8
∑
∑
∑
∑
∑
Tba.
°? 6
¢ 8
∑
∑
∑
∑
∑
Timp.
∑
∑
∑
∑
∑
6
¢& 8
∑
∑
∑
∑
∑
° 6
&8
∑
∑
D
6
°
Cym. / 8
Tub. B.
Vln. I
œ bœ
œ
œ
‰
mp
˙™
˙™
œ
mf
6
&8
∑
∑
∑
∑
Vln. II
B 68
∑
∑
∑
∑
Vla.
∑
œ bœ
‰
œ
œ
f
Vc.
?6
8
∑
∑
∑
œ
‰
œ
œ
f
Cb.
?6
¢ 8
∑
∑
∑
54
œ
˙™
œ
mp
∑
∑
œ
1.
99
Fl.
°
&
∑
∑
‰
œ œ œ œ œ
œ
œ bœ œ œ œ nœ
‰ Œ™
‰
‰ Œ™
∑
‰ Œ™
∑
mf
1.
œ œ œ
∑
&
Ob.
‰
œ
J
œ
bœ œ™
J
‰ œ œ œ
œ
J
œ
œ bœ ™
J
œ
mf
1.
& œ œ œ œ œ œ œ œ œ œ œ œ œj ‰ ‰ Œ ™
Cl.
∑
∑
∑
∑
‰ œ œ œ œ
œ
mf
1.
?
∑
∑
∑
∑
∑
‰ œ œ œ
Bsn.
¢
j
œ œ
œ œ™
J
mf
°?
∑
∑
∑
∑
∑
∑
∑
&
∑
∑
∑
∑
∑
∑
∑
?
∑
∑
∑
∑
∑
∑
∑
?
∑
∑
∑
∑
∑
∑
∑
°?
¢
∑
∑
∑
∑
∑
∑
∑
Timp.
Cym.
°/
∑
∑
∑
∑
∑
∑
∑
¢&
∑
∑
∑
∑
∑
∑
∑
Hn.
Tpt.
Tbn.
Tba.
¢
Tub. B.
Vln. I
° œ™
&
Ϫ
œœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœœœœœœœœ
p
& ‰ œ bœ œ œ œ
Vln. II
f
B ˙™
œœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœœœœœœœœ
Vla.
mp
p
? ˙™
Vc.
œœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœœœœœœœœ
p
bœ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ 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
?
∑
∑
∑
∑
Cb.
¢
55
∑
∑
∑
106
∑
∑
∑
∑
∑
∑
Fl.
°
&
&
∑
∑
∑
∑
∑
∑
Ob.
& œ
‰ Œ™
Cl.
‰ œ œ
œ œ œ
j
™
œ ‰ ‰ Œ
∑
Ϊ
‰ ‰
j
œ
#œ
j
#œ œ
j
œ
#œ
J
œ
œ
J
f
#œ
Bsn.
? œ œ œ œ
¢
j
œ
œ
j
œ ‰ ‰ Œ™
j
œ œ™
∑
‰ ‰ œJ
Ϊ
f
°?
∑
œœj ‰ ‰ ‰ ‰ œœj
J ‰ ‰ ‰ ‰ J
∑
Hn.
j
j
œœj ‰ ‰ ‰ ‰ œœj #œœ ‰ ‰ ‰ ‰ œœ
J
J
J ‰ ‰ ‰ ‰ J
‰ ‰ ‰ ‰
j
#œœ ‰
J ‰
‰
‰
‰ ‰
‰ ‰
œœj
J
j ‰
j ‰ ‰ ‰ ‰ j j ‰ ‰ ‰ ‰ j
œœ ‰ ‰ ‰ ‰ œœ #œœJ ‰ ‰ ‰ ‰ œœJ ##œœ ‰
J
J
J
‰
‰
‰ ‰
‰ ‰
j
œœ
J
‰ ‰
j
œ
p
Tpt.
&
∑
?
∑
Tbn.
j ‰ ‰
œœ ‰ ‰
J
p
œj
‰ ‰ œj œ
œ
‰ ‰ J œ
J
∑
Ϊ
Ϊ
‰ ‰ j
‰ ‰ œœ
J
œ
œ
œj
œJ
œ
œj œ™
œJ
œ
œ
#œj œj ‰ ‰
J J ‰ ‰
∑
∑
mp
?
∑
∑
Tba.
¢
j ‰ ‰ ‰ ‰ j
œ
œ
j
j
œ ‰ ‰ ‰ ‰ œ
j
j
œ ‰ ‰ ‰ ‰ œ
j
#œ ‰
‰
p
°?
¢
∑
∑
∑
∑
∑
∑
Timp.
Cym.
°/
∑
∑
∑
∑
∑
∑
¢&
∑
∑
∑
∑
∑
∑
Tub. B.
œœ
Vln. I
°
œœ
& œœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœœœœ
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œj ‰ ‰ Œ ™
Vln. II
Vla.
˙™
#˙ ™
œ œ œ œ#œ œ œ œ œ œ œ ˙ ™
œ
Ϊ
‰ ≈ œ #œ œ
Ϊ
‰ ≈
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 œj ‰ ‰ Œ ™
∑
‰
?
∑
œ
œ
œ #œ œ#œ œ#œ œ œ œ œ œ#œ œ œ#œ œ œ œ œ œ œ
œ
Vc.
‰ ‰ Œ™
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œj
pizz.
?
Cb.
¢
∑
∑
œ ‰ ‰ ‰ ‰ œ
J
J
p
56
œ ‰ ‰ ‰ ‰ œ
J
J
œ
œ
J ‰ ‰ ‰ ‰ J
#œ
J ‰
‰
‰ ‰
œ
J
Fl.
∑
∑
∑
∑
œj
4 œ‰ Œ
8 J‰ Œ
œ œ œ œ œ œ ˙™
œ œ œ œ œ œ ˙™
112
°
&
bœ
™
‰ œœ bœ œœ œœ ˙˙™
‰
œœ
f
p
∑
&
Ob.
∑
∑
∑
‰ œœœ œ œ œ œ ™
‰ œ œ œ œ œ™
Ϊ
Ϊ
Ϫ
Ϫ
Ϊ
Ϊ
œ œ bœj 1.
‰ œœ œœ œœ œ œ 4 bœ œœœœœ œ
8 J‰ Œ
‰
p
f
& œ
Cl.
j
œ œ
‰
∑
∑
∑
∑
∑
bœ
‰ œœ bœ œœ œ œ ˙ ™
‰
œœ
˙™
1.
4 œj ‰ ‰
8 œ‰ Œ
bœ œ
J
p
f
œ
?
œ œ
J
‰
∑
∑
∑
∑
Bsn.
¢
œœœœ
‰ œ œ œ œ œœ ˙™
‰
˙™
œ œ
4 œbbœœ œ œ
8
˙™
˙™
f
f
Hn.
°? œœj ‰ ‰ ‰ ‰ œœj
J ‰ ‰ ‰ ‰ J
œœj ‰ ‰ ‰ ‰
J ‰ ‰ ‰ ‰
j
œœj œœ ‰ ‰ ‰ ‰
J J ‰ ‰ ‰ ‰
œœj bœœj ‰ ‰ ‰ œœ œœ œœj ‰ ‰ Œ ™
J J ‰ ‰ ‰
J‰ ‰ Œ ™
∑
∑
∑
˙
4b˙
8
pp
& œœj ‰‰ ‰‰ ‰‰ ‰‰ œœj
J
J
Tpt.
? Ϊ
Ϊ
Tbn.
j
‰ ‰ œœ
‰ ‰ J
j ‰ ‰ ‰ ‰ j
œœ ‰ ‰ ‰ ‰ œœ
J
J
j
œj œ œ œ
œ œ œ œJ
J
j
j
œœ ‰‰ ‰‰ ‰‰ ‰‰ œœ
J
J
œ
œ
bœj
bœJ
œj ‰ j
œ ‰ œJ
J
j ‰ ‰ Œ™
j ‰ ‰ ‰
œœ ‰ ‰ ‰ œœ œœ œœ ‰ ‰ Œ ™
J
J
∑
œj ‰ ‰ Œ ™
œJ ‰ ‰ Œ ™
∑
j
œ œœ
J
Ϫ
bœ ™
∑
∑
4 b˙˙
8
pp
∑
∑
4 b˙
8
pp
mf
Tba.
¢
? œj ‰ ‰ ‰ ‰ œj
j
j j
j
œ ‰ ‰ ‰ ‰ œ œ ‰ ‰ ‰ ‰ œ
j ‰ ‰ Œ™
j ‰ ‰ ‰
œ
œ œ œ
∑
∑
∑
4 ˙
8
pp
°?
¢
∑
∑
∑
∑
∑
∑
∑
∑
4
8
∑
Timp.
°/
∑
∑
∑
∑
∑
∑
∑
∑
4 œ
8
Œ
Cym.
p
Tub. B.
Vln. I
¢&
∑
∑
∑
∑
∑
° œ œœ œnœ œ œœ œ œ œ œ œ œ œœœ œœ œ œ œ œ œ œœ œ œbœ œœ œ œb œ œ œ œbœ
œ
j
œ
œ
œœœœœ œœ œ ‰ ‰ Œ™
&
∑
∑
∑
4
8
∑
∑
∑
4
8
∑
b ˙˙ divisi
pp
divisi
Vln. II
j ‰ ‰ Œ™
œ œ œ œœ œ œ œ œbœœ œ œ œ œœ œ
bœ
& œœnœ œ œ œ œœ œ œ
œ œ bœ œœ œœœœœœœœ œ
œ
œ
nœ œ œ œ œ
∑
∑
∑
b˙
4 ˙
8
pp
Vla.
B œj ‰ ‰ Œ ™
∑
œ
œ œ™
J
j
œ œ™
œ
j
™
œ‰ ‰Œ
∑
∑
∑
4 b˙
8
pp
arco
Vc.
? œJ ‰ ‰ ‰ ‰ œj
j
j
œ ‰ ‰ ‰ ‰ œ œj ‰ ‰ ‰ ‰ œj
j ‰ ‰ Œ™
j ‰ ‰ ‰
œ
œ œ œ
∑
∑
∑
4 ˙
8
pp
arco
˙
Cb.
œ
? œ
¢ J ‰ ‰ ‰ ‰ J
œ ‰ ‰ ‰ ‰ œ
J
J
œ ‰ ‰ ‰ ‰ œ
J
J
œ ‰ ‰ ‰ œ œ œJ ‰ ‰ Œ ™
J
∑
∑
∑
4
8
pp
57
Con moto q=110
121
Fl.
°
&
Œ
Œ
‰
‰
œj
J
œœ
Ϫ
Ϫ
œœj ‰ Œ
J ‰ Œ
œ b ˙˙
œ
At the blacksmith's shop
E
4
8
∑
∑
Œ
Œ
j
‰ bœœ
‰ J
∑
∑
Œ
Œ
j
‰ bœœ
‰ J
Œ
Œ
∑
Œ
Œ
‰ j
‰ b œœ
J
‰ ‰
Œ
∑
∑
mp
p
pp
& bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ bœJ ‰ Œ
Ob.
&
Cl.
j
bœ
‰
‰
‰
∑
‰
œ
œ
œj bbœœ
œJ
bœœ
4
8
j
4 œœ ‰
8J ‰
p
mp
?
Ϫ
Ϫ
bœj
bœJ
Bsn.
¢
œj
œ
J
‰
‰
Œ
Œ
‰
‰
œj bbœœ
œJ
œ
œ
bœœ
j
4œ ‰
8œ ‰
J
p
p
mp
°? <b> œœ
‰
‰
Hn.
œj
J
œœ
œœ™™
j
œœ ‰ Œ
J ‰ Œ
œœ b˙˙
4
8
∑
∑
∑
p
pp
p
& <b>˙˙
Tpt.
b˙˙
˙˙
j
bœœ ‰‰ ‰‰
J
‰ 4
‰ 8
∑
∑
∑
˙
˙
j
œ ‰ ‰
J ‰ ‰
‰ 4
‰ 8
∑
∑
∑
‰ 48
∑
∑
˙
j
œ ‰ ‰
∑
˙
?
<b><b>˙
Tbn.
?
˙
Tba.
¢
Timp.
°?
¢
∑
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
j
˙
˙
œ ‰ ‰
‰ 48 œj ‰
Œ
œ.
j
œ ‰ ‰ œ. œ. J ‰
Œ
p
mf
p
Con moto q=110
°
Cym. /
∑
¢&
∑
Tub. B.
∑
Ó
∑
∑
∑
∑
E
4
8
∑
4
8 œ. œ
p .
∑
œ. œ
.
œ. œ œ. œ
.
.
∑
œ. œ
.
œ. œ
.
mf
Vln. I
˙
° <b> ˙
&
˙˙
˙˙
b œœj
J ‰‰ ŒŒ
j
4 œœ ‰
8J ‰
p
œœj ‰ Œ
J ‰ Œ
j
4 œœJ ‰
8
‰
‰ ‰
‰ ‰
bœ œ
œ œ œ
∑
mf
<b> ˙˙
b ˙˙
b ˙˙
&
Vln. II
‰ ‰
‰ ‰
∑
∑
‰ ‰
∑
∑
‰ ‰
∑
∑
‰ ‰
∑
∑
p
B <b>˙
Vla.
˙
˙
œ ‰ Œ
J
4œ ‰
8J
p
?
j
œ ‰ Œ
˙
Vc.
˙
˙
4 j ‰
8œ
p
˙
?
˙
˙
œ ‰ Œ
J
Cb.
¢
4 œJ ‰
8
p
58
128
Fl.
° bœœ
&
œœ œœ œœ
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
pp
œ
& bœ
Ob.
œœ œœ œœ
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
pp
& œ
bœ
Cl.
œœ œœ œœ
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
pp
?
∑
∑
∑
∑
∑
∑
°?
∑
∑
∑
∑
∑
∑
Bsn.
¢
Hn.
1.
∑
&
Tpt.
‰
œ
J
œ
bœ œ œ
œ
œ
œ œ ˙
œ
œ
œ
œ
œ
œ bœ œ
œ œ œ
J
‰
Œ
Œ
œ
œ
bœ bœ
œ
œ
mf
1.
?
∑
∑
Œ
œ
œ
œ
Tbn.
mf
?
∑
∑
∑
∑
∑
∑
Tba.
¢
Timp.
°? Œ
¢
Cym.
°/
Tub. B.
¢& œ.
‰
.
œ. œ. œJ
‰
∑
Œ
‰
∑
œ.
œ.
œ.
° bœ œ œ œ œ œ œ œ œ
J
&
‰
œ.
Œ
œ.
œ.
.
œ. œ. œJ
‰
∑
Œ
Œ
‰
∑
.
œ. œ. œJ
‰
∑
Œ
∑
œ.
œ.
œ.
œ.
œ.
œ.
œ.
œ.
œ.
œ.
œ.
œ.
œ.
œ.
œ.
œ.
œ.
œ
J
‰
‰
œ
J
‰
œ
J
œ
J
‰
œ
J
‰
‰
œ
J
‰
œ
J
œ
J
‰
œ
J
‰
‰
œ
J
‰
‰
bœ
J
‰
œ
J
bœ
J
‰
œ
J
‰
‰
œ
J
‰
œ
J
œ
J
‰
œ
J
‰
‰
œ
J
‰
‰
œ
J
‰
œ
J
œ
J
‰
œ
J
‰
‰
œ
J
‰
œ
J
œ
J
‰
œ
J
‰
‰
j
œ
‰
‰
œ
J
‰
j
œ
œ
J
‰
j
œ
‰
‰
œ
J
‰
j
œ
œ
J
‰
j
œ
‰
‰
j
œ
‰
‰
œ
J
‰
j
œ
œ
J
‰
j
œ
‰
‰
œ
J
‰
j
œ
œ
J
‰
j
œ
‰
pizz.
Vln. I
mf
pizz.
&
Vln. II
∑
bœ
J
mf
pizz.
B
∑
Vla.
œ
J
mf
pizz.
?
∑
Vc.
œ
J
mf
pizz.
?
Cb.
¢
∑
œ
J
mf
59
134
œœ œœ
œœ œœœœ
œœœœ œœœœ
œœœœ
Fl.
° œœœœ
œœœœ œœœœ œœœœ œœœœ œœœœ #œœœœ œœœœ #œœœœ œœœ œ nœœœœ œœœœ œœœœ œœœ œ œœœœ œœœ œ œœœœ œœœœ œ
& œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœ œ œœœœ œœœœ œœœœ œœœ œ œœœœ œœœ œ œœœœ œœœœ œ
œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ #œœœœ œœœœ #œœœœ œœœ œ nœœœœ œœœœ œœœœ œœœ œ œœœœ œœœ œ œœœœ œœœœ œ
& œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœ œ œœœœ œœœœ œœœœ œœœ œ œœœœ œœœ œ œœœœ œœœœ œ
œœ œœ
œœ œœœœ
œœœœ œœœœ
œœœœ
Ob.
& œœœœ
œœœœ œœœœ
œœœœ œœœœ
œœœœ œœœœ
œœœœ œœœœ
œœœœ œœœœ
œœœœ #œœœœ
œœœœ œœœœ
œœœœ #œœœœ
œœœœ œœœ
œœœ œœ nœœœœ
œœœœ œœœœ
œœœœ œœœœ
œœœœ œœœ
œœœ œœ œœœœ
œœœœ œœœ
œœœ œœ œœœœ
œœœœ œœœœ
œœœœ œœ
œœ œœ
œœ œœœœ
œœœœ œœœœ
œœœœ
?
∑
∑
°?
∑
Cl.
∑
∑
∑
∑
∑
∑
∑
∑
œ œœœœœœ œj ‰ Œ
œ œœ œœœœ œ ‰ ∑Œ
J
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ œ œ œœ œ ‰ Œ
J
J
∑
∑
Bsn.
¢
Hn.
œ œœ œ œœ œœœœœœœœ
œ œœ œ œœ œœœœ œœœœ
mf
mf
& bœJ ‰ Œ
Tpt.
Tbn.
∑
∑
∑
∑
? bœ œ œ œ œ œ ‰ Œ
J
∑
‰ ‰ Œ
∑
?
∑
∑
∑
∑
∑
∑
∑
Tba.
¢
Timp.
°? Œ
¢
Cym.
°/
Tub. B.
œ.
‰ œœ
.. J ‰ Œ
∑
Œ
bœ
bœ
∑
‰ bœj œ œ œ nœj ‰ Œ
bœ
bœ
j‰ Œ
œ
bœ
bœ
œ
œ
#œ. œœ
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. .#œ. œ. œ. nœ. œœ
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. . œ. œœ
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‰ œœ
..
∑
∑
j
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.
.
∑
° ‰ œ ‰ œ œ ‰ Œ
J J
& J
‰ ‰ Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
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.
.
.
.
.
.
.
.
.
.
.
.
∑
arco
Vln. I
bœ œ œ œ œ œ ˙
‰ œJ œ
bœ
œ œ œ œbœ œ œ œ bœbœ bœ ‰ Œ
J
∑
œ œœœ œœ
œ œ œ œbœ œ œ œ bœbœ bœ ‰ Œ
J
∑
f
arco
& ‰ bœJ ‰ œJ
Vln. II
∑
∑
bœ œ œ œ œ œ ˙
‰ œJ œ
bœ
œ œœœ œœ
f
Vla.
Vc.
Cb.
¢
B ‰ œ ‰ œ œ ‰ œ ‰ ‰ œ ‰ œ œ ‰ œ ‰
J
J J
J
J
J J
J
‰ œ ‰ œ œ ‰ œ ‰ ‰ œ ‰ œ œ ‰ œ ‰
J
J J
J
J
J J
J
‰ œ ‰ œ œ ‰ œ ‰ œ ‰ œ ‰
J
J J J
J
J
? ‰ œJ ‰ œj œJ ‰ œj ‰ ‰ œJ ‰ œj bœJ ‰ œj ‰
‰ bœJ ‰ œj œJ ‰ œj ‰ ‰ œJ ‰ œj œj ‰ œj ‰
j
j
j
œ ‰ œj ‰ œj ‰ œj ‰ bœ ‰ bœ ‰
? ‰ œJ ‰ œj œJ ‰ œj ‰ ‰ œJ ‰ œj bœJ ‰ œj ‰
‰ bœJ ‰ œj œJ ‰ œj ‰ ‰ œJ ‰ œj bœj ‰ bœj ‰
j
j
j
œ ‰ œj ‰ œj ‰ œj ‰ bœ ‰ bœ ‰
60
.
œœj
.J
‰
‰
Œ
Œ
∑
.
œœj
& J
.
‰
‰
Œ
Œ
∑
.
& œœj
.J
‰
‰
Œ
Œ
∑
∑
∑
Œ
Œ
∑
∑
∑
145
Fl.
°
&
Ob.
Cl.
?
Bsn.
¢
Hn.
.j
°? œœ
.J
‰
‰
Tpt.
&
? j
œ.
‰
Œ
∑
Tbn.
? j
œ.
‰
Œ
∑
Tba.
¢
Timp.
°?
¢
Ϊ
∑
œ
œ
mf
Cym.
°/
˙
∑
mf
Tub. B.
j
œ
Ϊ
∑
¢&
mf
Vln. I
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
bœ
° œ
&
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
bœ
œ
œ
œ
œ
&
Vln. II
B œ.
J
‰
Œ
Vla.
? j
œ.
‰
‰
‰
∑
Vc.
? j
œ.
‰
‰
‰
∑
Cb.
¢
∑
61
rit.
Fl.
147
° œœœœœœœœœœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœ œ œœœœœœœœ œœœœœœœœ bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œj ‰ Œ
&
œœœœœœœœ œœœœœœœœ #œœœœœœœœ #œœœœœœœ œ œœœœœœœœ œœœœœœœœb œ œ œ œ œ œ œ œb œ œ œ œ œ œ œ œ œ ‰ Œ
J
pp
Ó
Ó
6
8
Ob.
j
œœœœœœœœ
œœœœœœœœ œœœœœœœ œ œœœœœœœœ
œœœœ œœœœ
& œ œ œ œ œ œ œ œ œœœœ
œœœœœœœœ
œœ œœ œœœœ
œœœœœœœœ
œœœœ #œœœœœœœœ #œœœœœœœ œ œœœœ
œœœœœœœœ
œœœœbbœœœœœœœœœœœœœœœœbbœœœœœœœœœœœœœœœœ œœ ‰‰ ŒŒ
J
pp
Ó
Ó
6
8
j ‰‰ ŒŒ
& œœœœœœœœœœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœ œ œœœœœœœœ œœœœœœœœ
œ
b
œ
œ
œ
œ
œ
œ
œ
œ
b
œ
œ
œ
œ
œ
œ
œ
œ
œœœœœœ œœ œœœœœœœœ# œœœœœœœœ# œœœœœœœ œ œœœœœœœœ œœœœœœœœb œ œ œ œ œ œ œ œb œ œ œ œ œ œ œ œ œJ
pp
Ó
Ó
6
8
Cl.
?
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
6
8
°?
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
6
8
œ
& J ‰ Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Tpt.
6
8
? j ‰ Œ
œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Tbn.
6
8
? j ‰ Œ
œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
6
8
Bsn.
¢
Hn.
Tba.
¢
Timp.
°? œ ‰ ‰
j
j
œ
œ œ
œ
œ
œ œ
œ œ J ‰ ‰ œœ œ œœ J ‰ ‰ œœ J ‰ ‰ œ œ œ œœ œ ‰ ‰ œœ œ ‰
¢ J
‰
œœ œ œ œ œ
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
6
8
˙
˙
mf
mf
Cym.
°/ ˙
∑
˙
˙
∑
˙
˙
∑
˙
˙
∑
6
8
œ. œ œ. œ
.
.
j
œ. ‰ Œ
∑
6
8
mf
Tub. 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.
Vln. I
°
&
Vln. II
&
œ œœœœœœ œ
-œ
˙
œ œœœœœœ œ
-œ
˙
œ œœœœœœ b œ
-œ
b˙
œœœœbœ œœ œbœ
œ
œœbœœ œ 6
nœ8
œ œœœœœœ œ
œ-
˙
œ œœœœœœ œ
œ-
˙
œ œœœœœœ bœ
-œ
b˙
6
œœœœ œœ œ
bœœ bœœœb œœbœ œ8
∑
œœ
arco
Vla.
B œj ‰ Œ
j
œ ‰ Œ
œœ
œœœ œœ œJ ‰ Œ
œœœ œœ œJ ‰ Œ
bœb œ œ œ b œJ
‰ Œ
bœbœbœ
∑
∑
6
8
mf
arco
Vc.
? j ‰ Œ
œ
‰ œœœœbœœ œj ‰ Œ
∑
j
œ ‰ Œ
œ ‰ Œ
J
‰ œœœœœ#œ œj ‰ Œ
∑
j
œ ‰ Œ
j
œ ‰ Œ
‰ bœ œ œ œbœbœ bœJ ‰
Œ
∑
∑
6
8
bœ ‰
J
Œ
∑
∑
6
8
mf
arco
Cb.
? j
¢ œ ‰ Œ
œ ‰ Œ
J
œ ‰ Œ
J
mf
62
œ ‰
J
Œ
A tempo
Maiden's dance
F
158
e=220
° ™6
& ™8
∑
5
8
∑
6
8
∑
5
8
∑
6
8
∑
5
8
∑
6
8
∑
5
8
∑
6
8
∑
5
8
∑
Fl.
6
8
6
& ™™8
∑
5
8
∑
6
8
∑
5
8
∑
6
8
∑
5
8
∑
6
8
∑
5
8
∑
6
8
∑
5
8
∑
Ob.
6
8
6
& ™™8
∑
5
8
∑
6
8
∑
5
8
∑
6
8
∑
5
8
∑
6
8
∑
5
8
∑
6
8
∑
5
8
∑
Cl.
6
8
? ™™6
8
∑
5
8
∑
6
8
∑
5
8
∑
6
8
∑
5
8
∑
6
8
∑
5
8
∑
6
8
∑
5
8
∑
6
8
°? ™6
™8
∑
5
8
∑
6
8
∑
5
8
∑
6
8
∑
5
8
∑
6
8
∑
5
8
∑
6
8
∑
5
8
∑
Hn.
6
8
6
& ™™8
∑
5
8
∑
6
8
∑
5
8
∑
6
8
∑
5
8
∑
6
8
∑
5
8
∑
6
8
∑
5
8
∑
Tpt.
6
8
? ™™6
8
∑
5
8
∑
6
8
∑
5
8
∑
6
8
∑
5
8
∑
6
8
∑
5
8
∑
6
8
∑
5
8
∑
Tbn.
6
8
? ™™6
8
∑
5
8
∑
6
8
∑
5
8
∑
6
8
∑
5
8
∑
6
8
∑
5
8
∑
6
8
∑
5
8
∑
6
8
5
8
∑
6
8
∑
5
8
∑
6
8
∑
5
8
∑
6
8
∑
5
8
∑
6
8
∑
5
8
∑
6
8
5
8
∑
6
8
∑
5
8
∑
6
8
∑
5
8
∑
6
8
∑
5
8
∑
6
8
∑
5
8
∑
6
8
5
8
∑
6
8
∑
5
8
∑
6
8
∑
5
8
∑
6
8
∑
5
8
∑
6
8
∑
5
8
∑
6
8
Bsn.
¢
Tba.
¢
first time only
Timp.
°? ™6<Ÿ>~j ‰ ‰ Œ ™
¢ ™8 œ
mp
e=220
Cym.
Tub. B.
F
° / ™™6
8
A tempo
∑
™6 j
™
¢& ™8 œ ‰ ‰ Œ
mp
arco
divisi
Vln. I
° ™6
& ™8 œ œ œ
- - -
5 œ œj œ 6 œ
5
6
5 œ œ œ œ 6 ˙™
j
8
8
œ 8 - œ- œ- 8 œ œ œ œ 8 œ- œ- œ 8
J
-
5 œ œ œ œ 6 ˙™
8
8
J
œ jœ
5 œ œœ œ œœ 6
8
8
J
f
mf
arco
6
& ™™8 nœ œ œ
- - -
Vln. II
5 œ œj œ 6 œ
5
6
5
6 j
j
8
œ 8 - œ- œ- 8 œ œ œ œ 8 œ- œ- œ 8 œ œ œ œ 8 œ ‰ ‰ Œ ™
œ
5
6
8 œ œ œ œ œ 8 œj ‰ ‰ Œ ™
5
8
œœœ
œ œ 68
mp
mf
B ™™68 œ œ œ œ œ 58 œ œ œ œ 68 œ œ œ œ œ 58 œj ‰ ‰ Œ
œ
œ
œ
mp
Vla.
6
5
8 œ œ œ œ œ œ 8 œj ‰ ‰ Œ
6 œ œbœ œ œbœ 5 œJ ‰ ‰ Œ
8
8
6 bœ œ œ œ œ œ 5 œ ‰ ‰ Œ
8
8J
6
8
mp
arco
pizz.
? ™™6 œ ‰ Œ
8J
Vc.
œ ‰ 58 œJ ‰ ‰ Œ
J
6 œj ‰ Œ
8
j
œ ‰ 58 œ ‰ ‰ Œ
J
6 œj ‰ Œ
8
j 5 j
œ‰ 8 œ‰ ‰ Œ
6 bœ œ œ
8
5œ ‰Œ
8
6 bœ œ œ
8
5œ ‰ Œ
8
6
8
mf
mp
f
arco
pizz.
Cb.
¢
? ™™6 œ ‰ Œ
8J
œ ‰ 58 œJ ‰ ‰ Œ
J
6 œj ‰ Œ
8
j
œ ‰ 58 œ ‰ ‰ Œ
J
6 œj ‰ Œ
8
mp
j 5 j
œ‰ 8 œ‰ ‰ Œ
6 bœ œ œ
8
mf
63
5œ ‰Œ
8
6 bœ œ œ
8
5œ ‰ Œ
8
f
6
8
168
° 6
&8
∑
5
8
∑
6
8
∑
5
8
∑
6
8
∑
5
8
∑
™™ 68
∑
∑
∑
∑
Fl.
6
&8
∑
5
8
∑
6
8
∑
5
8
∑
6
8
∑
5
8
∑
™™ 68
∑
∑
∑
∑
Ob.
6
&8
∑
5
8
∑
6
8
∑
5
8
∑
6
8
∑
5
8
∑
™™ 68
∑
∑
∑
∑
Cl.
?6
¢ 8
∑
5
8
∑
6
8
∑
5
8
∑
6
8
∑
5
8
∑
™™ 68
∑
∑
∑
∑
Bsn.
∑
5
8
∑
6
8
∑
5
8
∑
6
8
∑
5
8
∑
™™ 68
∑
Hn.
°? 6
8
6
&8
∑
5
8
∑
6
8
∑
5
8
∑
6
8
∑
5
8
∑
™™ 68
∑
Tpt.
?6
8
∑
5
8
∑
6
8
∑
5
8
∑
6
8
∑
5
8
∑
™™ 68
∑
Tbn.
?6
¢ 8
∑
5
8
∑
6
8
∑
5
8
∑
6
8
∑
5
8
∑
™™ 68
∑
∑
∑
∑
Tba.
°? 6
¢ 8
∑
5
8
∑
6
8
∑
5
8
∑
6
8
∑
5
8
∑
™™ 68
∑
∑
∑
∑
Timp.
Cym.
°/ 6
8
∑
5
8
∑
6
8
∑
5
8
∑
6
8
∑
5
8
∑
™™ 68
∑
∑
∑
∑
6
¢& 8
∑
5
8
∑
6
8
∑
5
8
∑
6
8
∑
5
8
∑
™™ 68
∑
∑
∑
∑
Tub. B.
∑
∑
j‰ ‰
œ œœœ
∑
∑
™™ 68 œ œ œ œ œ œ œ œ œj ‰ ‰
bœ
∑
∑
Vln. I
Vln. II
j
° 6 œ œ #œ 5 œ œ œ #œ 6 œ nœ œ 5 œ
œ
œ
&8
œ #œ 8
œJ œ #œ 8 œ nœ œ 8 œ
6 j
& 8 œ ‰ ‰ Œ™
5
8
œœ
6
™
œ œ œ 8 œj ‰ ‰ Œ
j
œ œ 68 bœ œœ bœ 58 œ
bœ
œ
œJ œ bœ
5
8
œ œbœ œ œ
6 j ‰ ‰ Œ™
8
œ
j
œj œ œ ™™ 6 œ ‰
œJ œ œ 8 œJ ‰
5
8
œ œbœ œ œ
j
j
œ œ œ œ # œœ œ œ œ œ # œœ œ œ œ
Œ ‰ œœœ œ J œœœ œ J œœœ
Ϊ
∑
Œ
∑
j
j
œ œ œ œ #œJ œ œ œ œ #œJ
‰ Œ™
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j
‰bbœœ œ nnœœ #œ œ œ ‰ ‰
#
œ
œ
‰
œ
J
J‰‰
™™ 68 j ‰ ‰ Œ ™
œ
∑
6 œœœ
5 j
8œ
œœ8 œ‰ ‰ Œ
6 œ œ œ œ œ 5 j‰ ‰ Œ
8 bœ
8œ
œ ‰ 58 œJ ‰ ‰ Œ
J
6 œj ‰ Œ
8
j
œ ‰ 58 œ ‰ ‰ Œ
J
6 bœj ‰ Œ
8
j 5 j
œ‰ 8 œ‰ ‰ Œ
™™ 68 bœ ‰ Œ
J
œ‰ œ ‰ ‰ Œ
J
J
‰
∑
∑
œ ‰ 58 œJ ‰ ‰ Œ
J
6 œj ‰ Œ
8
j
œ ‰ 58 œ ‰ ‰ Œ
J
6 bœj ‰ Œ
8
j 5 j
œ‰ 8 œ‰ ‰ Œ
™™ 68 bœ ‰ Œ
J
œ‰ œ ‰ ‰ Œ
J
J
‰
∑
∑
Vla.
B 68 œ œ œ œ œ œ 58 j ‰ ‰ Œ
œ
Vc.
?6 œ ‰ Œ
8J
pizz.
mp
pizz.
Cb.
?6
¢ 8 œJ ‰ Œ
mp
64
e=176
178
Fl.
°
&
∑
∑
e=158
#œ œ #œ
œ œ œ œœ bbœœ #œ 5 œ #œ bbœœ œœ œ œ œ bœ nœ bœ œj ‰
œ
#
œ
b
œ
œ
œ œ œ bœ
8
œ œ
œ œ œ
J ‰
nœ
poco accel.
‰
‰
Œ
Œ
∑
‰
‰
Œ
Œ
∑
‰
‰
Œ
Œ
∑
‰
‰
Œ
Œ
∑
‰
‰
Œ
Œ
∑
‰
‰
Œ
Œ
∑
‰
‰
Œ
Œ
∑
‰
Œ
∑
f
mp
mp
&
Ob.
∑
∑
œ bœ #œ œ #œ bœ œ
#œ œ œ œ œœ œ bœ #œ 58 œ #œ bœ œ œœ œ œ bœ nœ bœ œj ‰
b
œ
œ
œ
œ
œ œ bœ n œ
œ œ
J ‰
ff
mp
mp
&
Cl.
∑
∑
œ
œ œ œ bbœœ ##œœ 5 œ ##œœ bbœœ œ œ œ œ bœ nœ bœ j ‰
œ
œ
#
œ
b
œ
œ œ œ œ bœ
œ
8
œ œ œ
œ œ œ œ
nœ bœ œ ‰
mp
J
mp
f
?
∑
∑
Bsn.
¢
œ
œ
œ œ œ bnœœ #n œœ œ œ œ œ œ bbœœ ##œœ 5 œ ##œœ bbœœ œ œ œ œ bœ nœ bœ j ‰
8
œ
œ œ œ œ bœ
œJ ‰
œ
œ œ œ
œ
œ
nœ
mp
mp
f
°? œœ
œœj œœ œœ œœ œœ
J
œœj # œ œœ œœ bœ œ œ # œ
J œ
œj bœ œ œ œ
J
Hn.
œ œ
œj 5 œ # œ bœ œ œ œœ œœ b œ n œ bœ œj ‰
J 8
bœ nœ
J ‰
ff
mp
&
Tpt.
∑
∑
mp
bœ œ œ œ
j ‰
bœj nœ
#œ œ
#œ 5 œ #œ
œœ œœ œœ bbœœ # œ œ œ œ œ œ bbœœ # œ 8 œ bœ œ œ œ œ bœ n œ bœ œJ ‰
œ
mp
mp
? œ œ œ œ
Tbn.
#œj œ œ œ œ
J
f
#œj bœ œ œ ##œœ
J bœ œ œ
œj bœ œ œ œ
œ bœ œ œ œ
J
œj 5 œ # œ bœ œ œ œ œ
bœ nœ bœ œj ‰‰
œJ 8 œ #œ bœ œ œ
J
mp
mp
f
f
?
∑
∑
∑
∑
5 œ #œ bœ
j ‰
8
œ œ œ œ bœ
nœ bœ œ
f
mp
°?
¢
∑
∑
∑
∑
5 j‰ ‰ Œ
8œ
>
Tba.
¢
Timp.
∑
∑
œ
j
œ œ
p
f
poco accel.
e=158
e=176
°
Cym. /
∑
∑
∑
¢&
∑
∑
°
&
∑
∑
Tub. B.
Vln. I
∑
5
8
∑
∑
∑
∑
∑
∑
5
8
∑
∑
∑
∑
∑
∑
5
8
œ #œ bœ œ œ
œ œ bœ nœ bœ j ‰
œ
‰
Œ
Œ
‰
‰
œ
J
f
mp
mf
&
Vln. II
∑
∑
∑
œ #œ bœ œ œ
œ œ bœ nœ bœ
5
œœœœœœœœœœ œœœœœœœœœœ
8
∑
f
marcato
mp
B
∑
∑
∑
œ #œ bœ œ œ
œ œ bœ nœ bœ j ‰
5
œ
8
∑
Vla.
‰
Œ
∑
‰
Œ
∑
‰
Œ
∑
f
mp
arco
?
∑
∑
∑
œ
5 # œ bœ œ œ œ œ bœ nœ bœ j ‰
8
œ
∑
Vc.
f
mp
?
∑
∑
∑
arco
œ
5 # œ bœ œ œ œ œ bœ nœ bœ j ‰
8
œ
∑
Cb.
¢
f
mp
65
Allegro Energico e=176
G
Plowing neighbour's land
186
∑
∑
∑
∑
∑
∑
∑
Fl.
°
&
&
∑
∑
∑
∑
∑
∑
∑
Ob.
&
∑
∑
∑
∑
∑
∑
∑
Cl.
?
∑
∑
∑
∑
∑
∑
∑
°?
∑
∑
∑
∑
∑
∑
∑
&
∑
∑
∑
∑
∑
∑
∑
?
∑
∑
∑
∑
∑
∑
∑
?
∑
∑
∑
∑
∑
∑
∑
Bsn.
¢
Hn.
Tpt.
Tbn.
Tba.
¢
Timp.
°?
¢ œ
j
œ œ
œ
j
œ œ
œ
j
œ œ
j
œ œ
œ
œ
j
œ œ
œ
j
œ œ
œ
j
œ œ
mp
G
°
Cym. /
Tub. B.
Vln. I
¢&
Allegro Energico e=176
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
° œ œ œ œ œ œnœ œ
œ
&
œ œ
J
œ
œ
œ
œ
J
œ œ
J
œ
œ
œ
œ
J
œ œ
J
œ œ œbœ
œ
œ œnœ œ œ
Ϊ
‰ œj
marcato
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œbœ
Vln. II
mf
arco
B
∑
‰ œJ #œ ™
Ϊ
Vla.
œ
Ϫ
bœ
Ϫ
bœ
Ϫ
œ
j ‰ ‰ ‰ nœ œ
œ
Ϊ
‰ œj
œ
œ-bœ œ œ œ
mf
marcato
?
∑
∑
∑
∑
∑
Vc.
mf
?
∑
∑
∑
∑
Cb.
¢
66
∑
∑
∑
œ
œ#œ œ
J ‰‰ Œ
‰
œ#œ œ
J ‰ ‰Œ
‰
1.
193
Fl.
°
&
∑
Ϊ
∑
Ϊ
>.
œj # œ ™
œ #œ ™
.>J
>.
n œj œ™
nœ œ ™
J
>.
>
œ œ ## œœ™™
œ œ 4
> 8
>
bnœœj
J
>
>
œ œ #œ ™
œ œ 48 #œ ™
>
>j
œ
bœ
J
>
>.
j
‰ œ #œ ™
œJ # œ ™
>.
>
œ œ 48 #œ ™
œ œ #œ ™
>
>
bœj
bœJ
>
>
œ œ 4 #œ ™
nœ œ 8 #œ ™
>
>
bœj
bœJ
>
>
™
œœ œœ 4 ## œœ™
> 8
>
b œj
bœ
J
>
>.
‰ #œœj #œœ ™™
‰ J
>.
>.
‰ œœj ##œ™
Ϫ
‰ J
>.
>
œœ œœ 48 ##œœ ™
™
>
>
bœj
bœ
J
>
>
bœj
bœJ
>
‰ j
#œ. #œ ™
>
4
œ >œ 8 #œ ™
‰
‰
Ϊ
mp
1.
&
Ob.
∑
Ϊ
∑
Œ
‰ bœ#œ bœJ ‰ ‰ Œ
Ϊ
Ϊ
‰ bœ#œ œj ‰ ‰ ‰‰
mp
&
Cl.
∑
∑
∑
∑
∑
∑
Ϊ
mf
?
∑
Ϊ
∑
Œ
∑
∑
∑
>.
j
‰ #œ #œ ™
#œJ # œ ™
>.
Ϊ
Bsn.
¢
mf
°?
∑
∑
∑
∑
∑
∑
>.
œœj ## œ™
Ϫ
‰ >.J
Ϊ
Hn.
mf
Tpt.
&
∑
∑
∑
∑
∑
∑
Ϊ
Ϊ
?
∑
∑
∑
∑
∑
∑
Ϊ
Ϊ
?
∑
∑
∑
∑
∑
∑
Ϊ
∑
∑
∑
∑
∑
∑
4
8
∑
Tbn.
Tba.
¢
>
Ϫ
œœ #œœ 48 ##œ™
>
j
b >œ
Timp.
°?
¢ œ
j
œ œ
Cym.
°/
∑
∑
∑
∑
∑
∑
∑
∑
4
8
∑
¢&
∑
∑
∑
∑
∑
∑
∑
∑
4
8
∑
°
& œ
‰ Œ
Tub. B.
Vln. I
j
œ ‰ ‰Œ
‰ ‰ œj œœœœ œœœœœœœœœ
‰ ‰ œj œœœ œ œœœœœœœœœ
‰ ‰ œJ œœœ œ œœœœœœœœœœ #œ œœœœœœœœœ 48 #œ œœœœœ œ œ
‰ ‰ œj œœœ œ œœœœœœœœœ
‰ ‰ bœ œœœ œ #œ œœœœœœœœœ œœœœœœœœœœ 48 #œ œœœœœnœ œ
J
mp
& œ
Vln. II
œ œ œ œ œ bœ œbœ œ œ
œ ‰ ‰ Œ
J
mp
B œ œ œ œbœ bœ œ
Vla.
œ ‰ œ œœœœ œœœœœœœœœ
J
J
‰ ‰ œJ œœœ œ œœœœœœœœœ
‰ ‰ œJ œœœ œ œœœœœœœœœœ #œ œœœœœœœœœ 48 #œ œœœœœ œ œ
mp
? œ
œ bœ œ œ œ
Vc.
œ œbœ œ
bœ œ. œ. œ. b>œ
j
œ œ
œ œ. œ. œ. œ. b>œ
j
œ œ
bœ œ. bœ. œ. œ. #œ œ œ
#>œ #œ ™
J
œ >œ 4 #œ ™
8
j
b>œ
j
œ œ
œ œ. œ. œ. œ. b>œ
j
œ œ
bœ œ. bœ. œ. œ. #œ œ œ
#>œ #œ ™
J
œ >œ 4 #œ ™
8
j
b>œ
f
marcato
arco
?
Cb.
¢
∑
‰ ‰ œj œ œ bœ
. . . >
marcato f
67
q=90
Fl.
° bn˙˙
&
Ob.
Cl.
˙
b˙
˙
b˙
œj
bœ ‰‰ ‰‰
J
>j
œ ˙
œ ˙
J
> ff
>j
œ
bœ ‰‰ ŒŒ
J
>
˙
˙
˙
˙
>
œj ‰ ‰ œj ˙
œJ ‰ ‰ œJ ˙
> ff
b˙
b˙
b˙
b˙
œj ‰ ‰
œ ‰ ‰
J
n ˙˙
n ˙˙
f
Bsn.
? b˙
¢ b˙
Hn.
∑
4
4
∑
∑
>j
œ ‰ Œ
œJ ‰ Œ
>
4
4
∑
∑
>j
œ ˙
œ ˙
J
> ff
>j
œ ‰ Œ
œ ‰ Œ
J
>
4
4
∑
∑
>j
œœj
œœ ˙˙
J ‰ ‰ J
‰ ‰ >
>j
œœ
J ‰ Œ
> ‰ Œ
˙
4w
4
œ
f
ff
˙
& b˙
Tpt.
˙˙
>j
j
bœœ ‰‰ ‰‰ œœ
J
J
>
>
œœj ‰ ‰ œœj
J ‰ ‰ J
>
˙˙
f
? ˙
b˙
Tbn.
˙
b˙
˙
b˙
f
?
b˙
b˙
b˙
f
°?
¢
ff
˙
˙
j ‰ ‰ j
œ
>œ ˙
¢
Timp.
˙˙
>j
bœœ
J
>
>j
œœ
J
>
‰ Œ
‰ Œ
4
4
‰ Œ
‰ Œ
4 ˙w
4
∑
∑
∑
w
w
∑
˙
∑
˙™
˙™
œœ
mf
j ‰ Œ
>œ
4
4w
ff
∑
œ
mf
ff
Tba.
Celebration of the work season accel.
∑
f
n˙
°? n ˙
H
4
4
b˙
˙
f
n˙
& ˙
>j
œ ‰ Œ
œ
J ‰ Œ
>
b˙
˙
f
n˙
&b˙
>j
œ
œ ˙˙
J
> ff
b œj
œ ‰ ‰
J ‰ ‰
202
w
mf
Ÿ~~~~~~~~~~~~~ j
œ ‰ Œ
˙
>
4
4
∑
∑
ff
accel.
°
Cym. /
∑
∑
∑
∑
˙
>j
œ ‰ Œ
H
4
4
b>œ ‰ Œ
J
q=90
∑
∑
4
4
∑
∑
>œ
J ‰ Œ
4
4
∑
∑
b>œ ‰ Œ
J
4
4
∑
∑
>œ
J ‰ Œ
4
4
∑
∑
j
œ ‰ Œ
>
4
4
∑
∑
j
œ ‰ Œ
>
4
4
∑
∑
ff
Tub. B.
∑
¢&
∑
∑
∑
˙
ff
Vln. I
° œ œ 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 ææ
&
f
ff
>
& bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ bœJ ‰ ‰ œJ ææ˙
Vln. II
f
ff
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 æ
Vla.
f
ff
? bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œj ‰ ‰ œj ææ
> ˙
Vc.
f
Cb.
¢
ff
? bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œj ‰ ‰ œj ææ
> ˙
f
ff
68
A tempo
Allegro q=110
210
∑
4
4
∑
∑
∑
∑
Fl.
°
&
&
∑
4
4
∑
∑
∑
∑
Ob.
&
∑
4
4
∑
∑
∑
∑
Cl.
1.
Bsn.
.
4 bœ
?
œ
œ
œ
¢ ‰ œJ œ. œ. œ. œ. œ. œ. 4 œ. . œ. . œ. . œ. .
œ. bœ. œ. œ. œ. œ.
mp
Hn.
.
.
œœj
œœj
b
°? J ‰ J ‰
. ‰ . ‰
.
.
.j
œœj
œœj
b œœ
.J ‰‰ .J ‰‰ 44 .J ‰‰
.
.
œœj
œœj
.J ‰‰ .J ‰‰
.j
.
œœj
b œœ
.J ‰‰ .J ‰‰
.
.
œœj
œœj
.J ‰‰ .J ‰‰
. . .
2..
.
. . œ. œ. œ. œ. œ.
œ. œ. œJ œ œ œ œ. œ œ. œ bœ
.
.
œœj
.J ‰‰
.
.
œœj
œœj
.J ‰‰ .J ‰‰
.
.
.j
œœj
œœj
b œœ
.J ‰‰ .J ‰‰ .J ‰‰
œ
Œ
.
.
œœj
œœj
.J ‰‰ .J ‰‰
.
œ. œ
.
œœj
.J ‰‰
mp
1.
∑
&
Tpt.
4 Ó
4
Œ
œ œ
œ
œ
œ œ œ œ œ
Œ
œ œ
œ
œ
œ œ œ œ œ
mf
œj
œj
œj
œj
œj
œj
œj
œj
œj
œj
œj
? ‰ œJ ‰ œJ ‰ œJ ‰ œJ 4 ‰ œJ ‰ œJ ‰ œJ ‰ œJ ‰ œJ ‰ œJ ‰ œJ
4 ‰
‰
‰
‰
‰
‰
‰
‰
‰
‰
‰
Tbn.
j
j
j
j
œj
œj
œj
œj
‰ œJ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œJ ‰ œJ ‰ œJ
‰
‰ J ‰ J ‰ J ‰ J ‰
‰
‰
œj
‰ œJ
‰
mp
Tba.
¢
Timp.
? j ‰ j ‰ j ‰ j ‰ 4 j ‰ j ‰ j ‰ j ‰
4 œ.
œ.
œ.
œ.
œ.
œ.
œ.
œ.
°?
¢
4
4
∑
j
œ. ‰ Œ
∑
j
œ. ‰
Œ
j
œ. ‰ Œ
j
œ. ‰ Œ
bœ. ‰ Œ
J
œ. ‰
J
∑
∑
∑
Œ
A tempo
Allegro q=110
°
Cym. /
∑
4
4
∑
∑
∑
∑
¢&
∑
4
4
∑
∑
∑
∑
°
&
∑
4
4
∑
∑
∑
∑
Vln. I
&
∑
4
4
∑
∑
∑
∑
Vln. II
B
∑
4
4
∑
∑
∑
∑
?
∑
4
4
∑
∑
∑
∑
Tub. B.
Vla.
Vc.
pizz.
Cb.
? œ
¢ J ‰ Œ
j
œ ‰ Œ
4 œJ ‰ Œ
4
j
œ ‰ Œ
œ.
J ‰ Œ
mp
69
j
œ. ‰
Œ
œ.
J ‰ Œ
j
œ. ‰ Œ
b œ.
J ‰ Œ
bœ. ‰
J
Œ
œœ œ
‰ œœ œ
‰
215
Fl.
° Ó
& Ó
Œ
Œ
œ
œ
œ œ œ œœ
œ œ œ œœ
œ
œ
œ
œ
œ œ œ œœ
œ œ œ œœ
œ
œ
Œ
Œ
Œ
Œ
œœ
œœ
œ
œ
œ
œ
œ œ œ œœ
œ œ œ œœ
œ œ œj
œ œ œ ‰‰ ŒŒ
J
œ œ
œ œ
Œ
Œ
Œ
Œ
œœ
œœ
œ
œ
œ
œ
œ œ œ œœ
œ œ œ œœ
œ œ œj
œ œ œ ‰‰ ŒŒ
J
œ œ
œ œ
œœ ‰ œœ
œ œœ
œœ ‰ œœ
œœ ‰ œœ
œœ
œ ‰ ‰ ‰
mf
& ÓÓ
Ob.
œœ œ
‰ œœ œ
‰
Œ
Œ
œ œœ
‰ œœ ‰ œœ ‰ œœ
œ œœ ‰ œœ ‰ œœ ‰ œœ
mf
∑
&
Cl.
∑
? œ. œ. œ. œ. œ. œ. œ. œ.
Bsn.
¢
Hn.
.
œœj
b
°? J ‰
.‰
.
œœj
.J ‰‰
.
œœj
.J ‰‰
.
œœj
.J ‰‰
œ‰
J
Œ
j
œ‰
∑
Œ
j
œ‰
Œ
j
œ‰
∑
Œ
j
œ‰
Œ
j
œ‰
Œ
œ‰ Œ
J
∑
‰ œœ ‰ œœ ‰ œœ ‰ œœ
‰ œœ ‰ œœ ‰ œœ ‰ œœ
j
œ‰ Œ
j
œ. ‰ Œ
œj œœœœ œœœœ œœœœ œœœœ œœ œœ œœ œœ œœ œœ œœ œœ œœœœ œœœœ œœœœ œœœœ œ œ ‰ œœ œœ œœ œj
‰
‰
‰
‰
‰
‰
‰
‰
‰
‰
‰
‰ œ œ œœ ‰ œœ ‰ œœ œ ‰ Œ
œ
J‰ Œ
‰
‰
‰
‰
‰
‰
‰
‰
‰
‰
‰
‰ ‰ ‰ ‰
J
j‰ Œ
œ.
Ó
Ó
mf
& œ
Tpt.
œ œ œj ‰ 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 ‰ œœ ‰ œœ ‰ œœ œj ‰ Œ
‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ‰ œ œ‰ œ œ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œœ ‰ œœ ‰ œœ J ‰ Œ
Ó
Ó
mf
j
? ‰ œœ ‰
‰ J‰
Tbn.
œœj ‰
J‰
œœj ‰
J‰
œœj œœj ‰
J‰
J
Œ
Œ
Ó
Ó
∑
Ó
Ó
∑
Œ
Œ
bœ œ œ
‰ bœ œ œ
œ
œ
œ
œ
œ bœ
œ bœ
mf
Tba.
¢
? œj ‰ Œ
.
j
œ. ‰ Œ
œ‰
J
Œ
j
œ‰
Œ
j
œ‰
Œ
j
œ‰
Œ
j
œ‰
Œ
j
œ‰
Œ
œ‰ Œ
J
j
œ‰ Œ
j
œ. ‰ Œ
j‰ Œ
œ.
°?
¢
∑
∑
∑
∑
∑
∑
Timp.
Cym.
°/
∑
∑
∑
∑
∑
∑
¢&
∑
∑
∑
∑
∑
∑
°
&
∑
∑
∑
∑
∑
∑
Vln. I
&
∑
∑
∑
∑
∑
∑
Vln. II
B
∑
∑
∑
∑
∑
∑
?
∑
∑
∑
∑
∑
∑
Tub. B.
Vla.
Vc.
Cb.
œ.
? J ‰Œ
¢
j
œ. ‰ Œ
œ
J‰
Œ
œ‰
J
Œ
œ
J‰
Œ
œ‰
J
Œ
70
œ
J‰
Œ
œ
J‰
Œ
œ
J‰ Œ
œ‰ Œ
J
œ. ‰ Œ
J
œ. ‰ Œ
J
Fl.
j
221
° ‰ b œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ b œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ b œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ bb œœJ ‰
&
‰
‰
‰
‰
‰
‰
‰
‰
‰
‰
‰
‰
‰
Œ
Œ
Ó
Ó
Œ
Œ
Ó
Ó
Ob.
œ œ œ œ œ œ œ œ bœj
& ‰‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰‰ bœœ œœ ‰‰ œœ œœ ‰‰ œœ œœ ‰‰ œœ œœ ‰‰ œ œ ‰‰ œ œ ‰‰ œ œ ‰‰ œ œ b œJ
‰
‰
‰
Cl.
& ‰‰ œœ œœ ‰‰ œœ œœ ‰‰ œœ œœ ‰‰ œœ œœ ‰‰ bœœ œœ ‰‰ œœ œœ ‰‰ œœ œœ ‰‰ œœ œœ ‰‰ bœœ œœ ‰‰ œœ œœ ‰‰ œœ œœ ‰‰ œ œ bœ œ œ œ œ œ œ n œ œœ œ œœ œ œœ œ œ œœ
œ œ b œ œbœ œbœ œ œn œ œ œ œ œ
‰
‰
mf
Bsn.
¢
? œj ‰
.
Œ
j
œ. ‰
Œ
œ. ‰
J
Œ
j
bœ. ‰
j
œ. ‰
Œ
Œ
j
œ. ‰
Œ
j
bœ.
‰
Œ
Ó
°?
∑
∑
∑
∑
&
∑
∑
∑
∑
Tpt.
Tbn.
? œœ
Hn.
Œ
Œ
Œ
Œ
œ bœ
œ bœ
œ
œ
œ
œ
œ
œ
œ bœ
œ bœ
bœ
bœ
Œ
j
œ. ‰
œ nœ
œ nœ
œ
œ
œ œ
œ œ
bœj
bœJ
‰
‰
Œ
Œ
Ó
Ó
‰
Œ
Ó
f
? œj ‰
Tba. ¢
.
Œ
j
œ. ‰
Œ
œ. ‰
J
Œ
j
bœ. ‰
Œ
j
œ. ‰
Œ
j
bœ.
°?
¢
∑
∑
∑
∑
Timp.
Cym.
°/
∑
∑
∑
∑
¢&
∑
∑
∑
∑
°
&
∑
∑
∑
∑
Vln. I
&
∑
∑
∑
∑
Vln. II
B
∑
∑
∑
∑
?
∑
∑
∑
∑
Tub. B.
Vla.
Vc.
Cb.
œ.
? J ‰
¢
Œ
œ.
J ‰
Œ
œ.
J ‰
Œ
bœ.
J ‰
œ.
J ‰
Œ
71
Œ
œ. ‰
J
Œ
bœ.
J
‰
Œ
Ó
225
Fl.
° Ó
& Ó
Œ
Œ
n˙
n˙
n˙
n˙
>j
œ
œ‰
J
>‰
>j
œ
‰ œJ
‰>
˙
˙
˙
˙
>j
œ
œ‰
J
>‰
>j
œ
‰œ
‰ >J
œ4 ˙
œ œ #œ œ œœ bbœœ nnœœ œ 8 ˙
œ œ#œ œ
#˙
#˙
n˙
n˙
>j
œ‰
œJ ‰
>
>j
‰ bœ
‰bœJ
>
œ bœ nœ œ 4 ˙
œ bœ nœ œ 8 ˙
˙
˙
˙
˙
>j
œ‰
œJ ‰
>
>j
‰œ
‰ œJ
>
n ˙˙
n ˙˙
n ˙˙
>j
œœ
J‰
>‰
>j
œ
‰ œJ
‰>
>j
‰bœœ
‰J
>
>j
‰œ
‰ œJ
>
n˙
œ œ œ b œ n œ œ # œ n œ bœ n œ œ # œ
‰ nœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œœ œ œœ œ œœ œœ œ nœ œ #œ nœ bœ nœ œ #œ 4 n˙
8
‰
mf
mf
& ÓÓ
Ob.
Œ
Œ
œ ˙
œ œ #œ œ œœ bbœœ nnœœ œ 4 ˙
‰
œ
œ
œ
b
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
8
‰ nœ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ #œ
mf
mf
œj
& œœ œœ œœ œœ œœ œ œœ œœnbœœnœœ bœœnœœ œœ #œœnœœ #œœ nœJ ‰‰ ŒŒ
œ
Cl.
Ó
Ó
Ó
Ó
mf
Bsn.
j
œ œ nœ
? œœ œœ œœ œœ œœ œœ œœ œœbnœœnœœ bœœnœœ œœ #œœ œ #œ œJ ‰ Œ
¢
‰ Œ
Ó
Ó
Œ
Ó
Œ
Œ
Œ
mf
mf
°?
œœ
∑
Ó
Ó
∑
Hn.
œœ
4
8
Œ
Œ
mf
&
Tpt.
∑
Ó
Ó
∑
œ
œ
bœœ œœ
4 ˙˙
8
n˙˙
n˙˙
>j
œœ‰
J‰
>
bœœ
bœœ
4˙
8˙
˙˙
˙˙
>j
œ ‰‰
J
>
˙
˙
j‰ ‰ j
œ>
>œ
mf
? ∑
∑
Tbn.
Œ
Œ
œœ
#bœœ
œœ
œœ
#œœ
mf
mf
?
∑
4
8
Œ
Tba.
¢
œ
#œ
œ
œ
œ
bœ
œ
˙
mf
mf
°?
¢
∑
∑
∑
Timp.
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
4
j ‰ ‰ œj
8˙
˙
˙
œ
>
>
mf
Cym.
°/
∑
∑
∑
4˙
8
∑
Ó
>j >j
œ‰‰œ
∑
Ó
j‰ ‰ j
œ
>œ
>
mf
Tub. B.
¢&
∑
∑
4˙
8
∑
mf
Vln. I
°
&
∑
∑
Ó
>
>
bœ œ œ œ 48 #œ œœœœœœœ #œ œœœœœœœ #œ œœœœœœœ #œJ ‰ ‰bœJ
Œ
mp
&
Vln. II
∑
∑
Ó
mf
>
>
bœ œ œ œ 48 œœœœœœœœ œœœœœœœœ œœœœœœœœ œ ‰ ‰ œJ
J
Œ
mp
B
∑
∑
Ó
mf
œœœœœœœœ œœœœœœœœ œœœœœœœœ >œ ‰ ‰ >œ
bœ œ œ œ 48
J
J
Œ
Vla.
mp
mf
arco
?
∑
∑
Ó
œ
4
8 œœœœœœœœ œœœœœœœœ œœœœœœœœ œj ‰ ‰ œj
>
>
mf
œ
4
8 œœœœœœœœ œœœœœœœœ œœœœœœœœ œj ‰ ‰ œj
>
>
mf
Œ
Vc.
œ
mp
arco
?
∑
∑
Ó
Œ
Cb.
œ
¢
mp
72
>j
œ
° œJ ‰ Œ
& >‰ Œ
Moderato Calando e=170
n˙
n˙
232
Fl.
∑
∑
f
>j
œ
& œJ ‰‰ ŒŒ
>
∑
∑
∑
f
∑
∑
˙
˙
∑
∑
∑
˙
f
Hn.
I
>j
>
œ ‰ Œ œœj ‰ Œ 6
œ
b
œ
œ
b˙
8
J
J
>‰ Œ >‰ Œ
œj ‰ ‰ >œj ˙
œ‰‰ œ ˙
J
J
> ff
>j
>
œ ‰ Œ œj ‰ Œ 6
œ
b
œ
b˙
œ‰ Œ œ‰Œ 8
J
J
>
>
∑
∑
6
j
j
œ‰ Œ œ‰Œ 8
>œ
>œ
∑
∑
∑
∑
b˙
b˙
n˙
n˙
j
j
œ ‰ ‰ œ œ œ bœ bœ œj ‰ Œ œj ‰ Œ 68
œ œ bœ
>
>
œ
>œ
bn˙˙
>
œœj œœj ˙˙
J‰‰J
‰‰>
˙
˙
ff
nn˙˙
∑
∑
˙
˙
f
>j
°? œœ ‰ Œ
J
>‰ Œ
∑
˙
˙
j
j
œ‰‰ œ ˙
œ
>œ ff˙
Returning home.
∑
n˙˙
f
>j
? œ‰Œ
¢ œJ ‰ Œ
>
œj >j
œ ‰ ‰ œœ ˙˙
J‰‰ J
> ff
b˙˙
∑
f
Bsn.
b˙˙
f
>
bœj ‰ Œ
& bœ ‰ Œ
J
>
Cl.
b˙
b˙
∑
f
Ob.
b˙
b˙
bn˙˙
∑
b ˙˙
>j
>j
œœ
œœ
J ‰ Œ J ‰ Œ 6 Œ™
>‰ Œ >‰ Œ 8
Ϊ
∑
Π6 Ϊ
Π8
Ϊ
∑
Π6 Ϊ
Π8
Ϊ
∑
ff
f
>
bœj
& œJ ‰‰
>
f
>
? œ
œ
>
Tpt.
Tbn.
f
Œ
Œ
∑
∑
∑
¢
>
œœj ‰ ‰ œœj
J‰ ‰ J
>
>
œj ‰ ‰ œj
œ‰‰ œ
J
J
>
n˙˙
f
? j‰ Œ
>œ
°? j ‰ Œ
¢ >œ
b˙
b˙
n˙
n˙
f
∑
∑
˙˙
b˙˙
ff
˙
œ œ
˙
˙
>j
œœ ‰
J‰
>
>j
œ‰
œ‰
J
>
>j
œœ ‰
J‰
>
>j
Œ œœ ‰
Œ J‰
>
Œ
Œ
ff
j‰ ‰ j
bœ bœ œj ‰ Œ
œ
œ> œ œ
ff
∑
b˙
˙
f
Timp.
b˙˙
>
œ œ œ œ œœ œœ œ œœ œ ˙
œ bœ ˙
œ œ bœ œ
>
f
Tba.
b˙˙
n˙
6
j
œ‰Œ 8
∑
∑
f
∑
∑
∑
∑
∑
∑
Ÿ~~~~~~~~~~~~~~~~~~~~~~
j
j
j ‰ Œ j ‰ Œ 68 Œ ™
œ ‰ ‰ >œ ˙
˙
>œ
>œ
Ϊ
∑
f
ff
>j
°
‰Œ
Cym. / œ
∑
∑
∑
˙
I
>j
>j
œ ‰ Œ œ ‰ Œ 68
˙
j‰ Œ j‰ Œ 6
8
>œ
>œ
˙
æ
>œ
>œ
6 ‰ œ œ#œ œ#œ ˙ ™
J ‰ Œ J ‰ Œ 8 ‰ œ œ#œ œ#œ ˙™
æ
b˙æ
j‰ Œ j‰ Œ 6
8
>œ
>œ
∑
∑
˙
æ
>œ ‰ Œ >œ ‰ Œ 6
8
J
J
∑
∑
j
j
6
bœ œ œ œœ œ œ œ bœ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ ‰ ‰ >œ œ œ bœ bœ œj ‰ Œ œj ‰ Œ 8
>
>
f
ff
∑
j
j
6
œ œ œ œœ œ œ œ bœ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ ‰ ‰ >œ œ œ bœ bœ œj ‰ Œ œj ‰ Œ 8
>
>
f
ff
∑
Ó
Ϊ
∑
∑
‰ ˙
Moderato Calando e=170
∑
∑
∑
∑
f
ff
Tub. B.
j
¢& >œ ‰ Œ
∑
∑
∑
Ó
∑
∑
Ϊ
‰ ˙
f
ff
divisi
Vln. I
° b>œ ‰ Œ
& J
∑
∑
∑
f
œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œJ ‰ ‰ >œ ˙
J æ
f
ff
mp
>
& œJ ‰ Œ
Vln. II
∑
∑
∑
f
j >j
bœ œ œ œœ œ œ œ bœ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ ‰ ‰ œ ˙æ
‰‰‰‰
f
ff
>œ
B J‰Œ
∑
∑
∑
Vla.
f
>
œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œJ ‰ ‰ œJ ˙
æ
f
ff
divisi
? j‰ Œ
>œ
Vc.
∑
∑
∑
f
Cb.
¢
? j‰ Œ
>œ
f
∑
∑
∑
73
œœœœ
‰ œœ œ œ œ œ
mp
∑
246
°
&
∑
∑
∑
∑
∑
∑
Fl.
&
∑
∑
∑
∑
∑
∑
Ob.
&
∑
∑
∑
∑
∑
∑
Cl.
?
∑
∑
∑
∑
∑
∑
°?
∑
∑
∑
∑
∑
∑
&
∑
∑
∑
∑
∑
∑
?
∑
∑
∑
∑
∑
∑
?
∑
∑
∑
∑
∑
∑
°?
¢
∑
∑
∑
∑
∑
∑
Timp.
Cym.
°/
∑
∑
∑
∑
∑
∑
¢&
∑
∑
∑
∑
∑
∑
Bsn.
¢
Hn.
Tpt.
Tbn.
Tba.
¢
Tub. B.
Vln. I
° œj ‰ ‰ Œ ™
& œ ‰ ‰ Œ™
J
divisi
bœ œ œ
‰ œ œ
& ‰ œ œ bœ œ œ
Vln. II
‰ œ œ
Ϊ
Ϫ
˙™
˙™
œ
#œ
J
#œ ™
˙™
∑
∑
œ
bœ
J
∑
Ϫ
Ϫ
‰ œ œ œ œ œ
mp
divisi
B
∑
∑
Vla.
‰ œ œ œ #œ œ
‰ œ œ œ #œ œ
˙™
˙™
œ
œJ œ œ œ œ œ
˙™
˙™
Ϫ
mp
? ˙™
˙™
Vc.
œ
œ œ œ œ œ œ
˙™
œ
Ϫ
j
œ
#œ ™
mp
?
Cb.
¢
Ϫ
∑
‰ œ œ œ œ œ
˙™
mp
74
œ
œ
J
˙™
∑
q=70
252
Fl.
œ œ
°
&
∑
∑
∑
∑
4
8
∑
Œ
‰
œ
J ‰
Œ
œ
J ‰
Œ
Œ
‰
#œ
#œ
œ
œ
p
∑
&
Ob.
∑
∑
∑
4
8
∑
Œ
œ œ
‰
p
∑
&
Cl.
∑
∑
∑
4Œ
8
œ œ œ ‰
J
‰
Œ
œ œ
p
?
∑
∑
∑
∑
Bsn.
¢
4‰
8‰
œj œ œ
œ œ œ
J
œ
œ
#œ œ
#œ œ
mf
mf
°?
∑
∑
∑
∑
4
8
∑
∑
∑
&
∑
∑
∑
∑
4
8
∑
∑
∑
?
∑
∑
∑
∑
4
8
∑
∑
∑
?
∑
∑
∑
∑
4
8
∑
∑
∑
°?
¢
∑
∑
∑
∑
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
4
8˙
˙
˙
Hn.
Tpt.
Tbn.
Tba.
¢
Timp.
mp
q=70
°
Cym. /
∑
∑
∑
∑
4œ
8
Œ
∑
∑
∑
∑
mp
Tub. B.
Vln. I
¢&
∑
° œ™
&
œ
∑
œ
J
Ϫ
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J
Ϫ
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∑
œ
J
Ϫ
4
8
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8
Ϫ
˙
b œj
˙˙
mp
divisi
‰ #œ œ œ œ œ
& ˙™
Vln. II
˙™
Ϫ
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8
˙˙
˙
˙
˙˙
˙˙
mp
divisi
Ϫ
B ˙™
Vla.
#œ ™
#œ ™
Ϫ
Ϫ
Ϫ
4˙
8˙
mp
?
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Vc.
j
œ
Ϫ
Ϫ
Ϫ
œ
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j
œ
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j 4‰
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J
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J
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mf
?
Ϫ
∑
∑
∑
Cb.
¢
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J
mf
75
rit.
Vivo q=120
A tempo
Celebration at the church's backyard
259
Fl.
° Œ
&
J
œnœ œ
4
J
‰
‰ Œ 4
∑
∑
∑
∑
∑
∑
∑
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∑
∑
∑
∑
∑
∑
∑
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pp
& Œ
Ob.
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pp
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4
4
1.
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subito mp
pp
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2.
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mp
Tpt.
&
∑
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j
4 j œœ ‰
4 œJ ‰
b œJ
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∑
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j
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Ó
Tbn.
.
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mp
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4 j‰ j‰ j‰ j‰ j‰ j‰ j‰ j‰ j‰ j‰ j‰ j‰
4
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mp
<Ÿ>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
°?
4 j
¢ ˙
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j j j j
j j j j
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j j j j
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∑
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pp
Vivo q=120
A tempo
rit.
Cym.
Tub. B.
Vln. I
°/
∑
∑
J
4
4
¢&
∑
∑
4
4
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J
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Ϫ
&
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4 J ‰ Œ
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∑
∑
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∑
∑
Ó
Ó
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J ‰ Œ
w
w
w
w
Ó
Ó
mp
mp
mf
˙
& ˙
Vln. II
œœ
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J‰ Œ
Ó
Ó
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‰ ‰ Œ
Ó
Ó
∑
∑
∑
∑
pp
mp
pizz.
œœ
B ˙˙
Vla.
œœ 4 œj ‰ Œ
4 œJ ‰ Œ
Ó
Ó
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. . .
. . .
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. . . .
.
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.
mp
pp
mp
pizz.
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Vc.
œ
#œ
4 j
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j j j j
œ‰ œ‰ œ‰ œ‰
j j j j
j j j j
œ‰ œ‰ œ‰ œ‰ œ‰ œ‰ œ‰ œ‰
j j j j
œ‰ œ‰ œ‰ œ‰
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4
J J J
J J J J
œ‰ œ‰ œ‰ œ‰ œ‰ œ‰ œ‰ œ‰
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J J J J
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J J J J
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j
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mp
mp
pizz.
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Cb.
¢
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mp
76
∑
Ó
Ó
Œ
Œ
œ œ
œ œ
œj œ
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J
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œ
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b œj
bœ
J
Œ
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J
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œ
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b œj
bœ
J
Œ
Œ
œ œ
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œ
œ
œ
b œj
bœ
J
267
Fl.
°
&
Ob.
Cl.
∑
∑
&
∑
∑
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Ó
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f
Tpt.
œ
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j
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j
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∑
Tbn.
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.
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.J ‰
∑
Œ
Œ
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J
œ
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bœj
J
j
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j
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j‰
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j‰
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j‰
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Timp.
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∑
Tub. B.
.
œ
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.
Vln. I
° œ œœ‰ œœ‰ œœ‰ œœ ‰ œœ‰ œœ‰ œœ‰ œœ œ œœ‰ œœ‰ œœ‰ œœ ‰ œœ‰ œœ‰ œœ‰ œœ œ œœ‰ œœ‰ œœ‰ œœ
&
Vln. II
& bœ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ bœ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ bœ œ œ ‰ œ œ ‰ œ œ ‰ œ œ
Vla.
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.
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B ‰ œ. œ œ. œ œ. œ œ.
J
.
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J
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j‰
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arco
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bœ
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J
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J
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J
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J
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J
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arco
77
œ ‰
J
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J
Fl.
j
272 œ
° œ nœ
& J œ
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j ‰
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j ‰
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j ‰
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j ‰
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Timp.
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°/
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∑
∑
∑
∑
Tub. B.
‰ nœœ œœ
‰
Vln. I
° ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ œ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ œ œ œ ‰ œ œ ‰ œ œ ‰ œ œ
&
Vln. II
& ‰ bœ œ ‰ œ œ ‰ œ œ ‰ œ œ bœ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ bœ œ ‰ œ œ ‰ œ œ ‰ œ œ bœ œ œ ‰ œ œ ‰ œ œ ‰ œ œ
Vla.
B ‰ bœ. j
œ. œ.
œ. œ.
œ. œ.
‰ œ.
J
œ. œ.
œ. œ.
œ. œ.
‰ bœ. j
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œ. œ.
œ. œ.
? œJ nœ
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J
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J
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bœ
J
bœ œ
J
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œ
J
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J
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J
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J
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J
œ ‰
J
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J
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J
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J
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J
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J
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J
Œ
Ó
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arco
Vc.
Cb.
¢
œ ‰
J
œ ‰
J
78
œ ‰
J
Œ
Ó
œ nœ
œ # œ n œ bœ n œ œ # œ n ˙
° œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ b œœ nnœœ œ #œ nœ bœ nœ œ #œ n˙
&
276
Fl.
n˙
n˙
‰
‰
˙
nœ œ #œ nœ bbœœ nnœœ œœ ##œœ ˙
œ
œ
œ
œ
nœ œ œ œ
nœ
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mf
Bsn.
¢
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J‰Œ Ó
∑
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˙
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J‰‰
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>
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n˙
n˙
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bœj
bœJ
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bœj ‰ Œ Ó
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n ˙˙
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bœj
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j
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J
J
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J
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f
mf
Cl.
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J
>
˙
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& ‰‰ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ bœœ œ œ #œ œ œ bœ nœ œ ˙
& bœ
bœ
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f
mf
Ob.
n˙
n˙
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f
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f
mf
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∑
Hn.
nn ˙˙
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f
mf
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∑
&
Tpt.
œ
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bœœ œœ
˙˙
n˙˙
n˙˙
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˙˙
˙
˙
f
mf
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?
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bœ
Tbn.
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bœœ
bœœ
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mf
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f
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j‰ ‰ j j‰ Œ Ó
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j
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Ó
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j
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80
j
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>
APPENDIX A: Labour songs from which themes are derived.
Figure 11: An Armenian Threshing Song from which the introductory motive of “Villagers at
Work” was derived. The motive is taken from the first system, measures 3 to 5.
(Atayan.Komitas, page 214)
81
Figure 12: Armenian Harvest Song from which Theme III of “Villagers at Work” was derived.
(Atayan.Komitas, pg 72)
82
APPENDIX B: Most used Armenian modes with song examples.
83
84
85
86
87
APPENDIX C: Text and translation of a labour song.
Fig. 14: A Plow Song
88
WORKS CITED
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1969.
Barsoumian, Vatsche. Komitas: Essays and Articles.Pasadena: Drazark Press, 2001.
Begian, Harry. “Komitas Vartabed: His Life and Importance to Armenian Music.” Ed.D. diss.,
University of Michigan, 1964.
Bartok, Bela. Mikrokosmos. Vol. 5: New York, Boosey & Hawkes: 1987.
Hemelink, Wendy. “Conference on Islamized Armenians. Traces of Memory: Music, Food and
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Hayazg.”Komitas”. Accessed November 2, 2015.http://www.ru.hayazg.info.
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89
Lendvai, Erno. Bela Bartok:An Analysis of His Music. New York: Pro Am Music, 1991.
Marshall, Wallace Elwood. “An analysis of the Mikrokosmos of Bela Bartok.” PhD diss.,
University of Washington, 1946.
Melikian, Spiriton. National Collections:Armenian Folk Songs and Dances: Yerevan: State
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Pehlivanian, Alina; Kerovpyan, and Aram; Sarlisyan, Svetlana; Armenia,The New Grove
Dictionary of Music and Musicians.New York: Macmillan Publishers, 2001.
Pennanen, Risto Pekka. “Lost in Scales: Balkan Folk Music Research and the Ottoman Legacy.”
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Poladian, Sirvart. Armenian Folk Songs. Los Angeles: University of California Press, 1942.
Prudyan, Margrit. Hay Joghovrtagan Yerajshdagan Sdeghdzakordzutiun. Yerevan: Luys
Publishing, 1971.
Rubin, Dr. Justin Henry. Quartal Harmony.Minneapolis:University of Minnesota, 2005.
Semerdjian, John. “The Armenians.” Accessed October 25, 2015.
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http://wiki.youngcomposers.com.
90