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Tristis est anima meaNr. 11 aus „Christus“
Neufassung für KammerorchesterIngo Schulz 2013
Solo (B)FlöteOboe
Klarinette in BFagott
Horn in FTrompete in C
Posaune4 Pauken
Streicher (min. 2/2/2/2/1)
Franz Liszt
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2
Die Partitur und das Aufführungsmaterial sind erhältlich:- als pdf Dateien unter http://www.musik-art.de
Das CopyrightDie Noten dieser Ausgabe sind frei im Internet erhältlich, was nicht heißt, dass das Werk in dieser Fassung völlig ungeschützt ist!Aufführungen und Aufnahmen sind bei der GEMA oder außerhalb Deutschlands den entsprechenden Verwertungsgesellschaften zu melden.
VorwortDiese Neuausgabe des "Tristis" aus Liszts Oratorium "Christus" entstand – wie meine anderen Bearbeitungen (www.musik-art.de) – nicht nur, um diese Werke auch in finanziell engen Verhältnissen aufführen zu können. Zwei weitere wesentliche Aspekte dürfen nicht vergessen werden:a) Die Instrumente der Romantik waren deutlich leiser als unsere heutigen Instrumente. Selbst sehr große und leistungsstarke Chöre haben es schwer, mit einem mit modernen Instrumenten besetzten großen Orchester eine ausgewogene Klangbalance zu erreichen. Besonders Streicher und Blech sind heutzutage so laut, dass im Zusammenspiel mit Singstimmen ein echtes Fortissimos nicht mehr gespielt werden darf. Durch meine starke Reduktion des Orchesters wird diese Relation wieder hergestellt, im Chor kann Piano wirklich Piano sein, im Orchester darf bei Fortissimo endlich wieder laut gespielt werden.b) Das durch die Reduktion erreichte klarer zeichnende Klangbild entspricht viel eher der Erwartung des modernen Hörers, der es durchaus gewohnt ist, analytisch zu hören, der nicht nur schwelgen, sondern auch verstehen will. Die Reaktionen von Hörern, die beide Versionen (Original und meine Fassung) im Konzert gehört haben, bestätigen diese Annahme.
Ich habe – trotz der schlechteren Lesbarkeit – Liszts originale Notation weitestgehend beibehalten. Vorzeichen, Angaben zum Dirigat (auch wenn sie heutezutage mindestens eigenartig erscheinen) blieben unverändert.Meine Tempo-Vorschläge habe ich in eckigen Klammern hinzugefügt.
Diese Fassung wurde im April 2013 in Berlin uraufgeführt (eine Aufnahme ist unter www.musik-art.de verfügbar) und ich habe nach der Aufführung viele Korrekturen eingearbeitet. Trotzdem ist sicher nicht alles richtig. Fehlermeldungen bitte an [email protected].
Es wurde die Frage an mich herangetragen, wann denn der ganze "Christus" in dieser Fassung vorliegt. Die Antwort mag für viele enttäuschend sein: "Wahrscheinlich nie!"Falls ich irgendwann am "Christus" weiter arbeite, werde ich vieles kürzen.Aber bevor es dazu kommt, gibt es andere Werke, die mir wichtiger sind, die schon auf dem Schreibtisch warten.
Ich wünsche viel Freude an dieser großartigen Musik!
Ingo Schulz, April 2013
The score and parts are available:- as a pdf file under http://www.musik-art.de
CopyrightThis edition is provided free of charge via Internet. However, we do have the copyright to this edition. Performances and recordings must be reported to GEMA or the responsible collecting agency in your country. In any case, we ask you to notify us if you perform this edition.
PrefaceThis new edition of the “Tristis” from Liszt’s Christus Oratorio came into being - as with my other treatments (www.musik-art.de) - not merely so that it could be performed under financial constraints, but for two other vital reasons: a) The instruments from the Romantic period were not nearly as loud as today’s. Even very large, high-performance choirs find it difficult to achieve the proper acoustic balance when singing with a large orchestra equipped with modern instruments. Today’s strings and brass instruments are especially loud, so much so that true fortissimos cannot really be employed along with singing voices. By reducing the orchestra, as I have done here, equilibrium is reestablished; piano can be piano with a choir, and fortissimo finally be played very loud. b) The clearly defined acoustic fabric, which is woven here with a reduced orchestra, is one that corresponds to contemporary listeners’ expectations. We are used to listening with an analytic ear, which is not content to be indulged, but also wishes to understand. Reactions from listeners who have heard both versions (the original and my own) in concert confirm this claim.
I have - despite its poor legibility - maintained much of Liszt’s original notation. Information and indications for the conductor (even though they usually seem rather peculiar today) remain unchanged. My suggestions for tempo are added in square brackets.
This version was premiered in Berlin in April 2013 (a recording is available at www.musik-art.de). I have since made several corrections. Nevertheless, it’s not quite perfect. Please let me know of any errors you may find: [email protected].
I have been asked when the entire Christus will be available in this version; the answer is perhaps a disappointment: “Probably never!” If I do ever work on the Christus again, I will certainly condense many parts. But, before I can dedicate myself to that, there are other works which take precedence and are awaiting me upon my desk.
I hope you enjoy this fantastic music!
Ingo Schulz, April 2013
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© Ingo Schulz 2013All rights reserved. - www.musik-art.de
rev. 24.4.2013
Flöte
Oboe
Klarinette in B
Fagott
Horn in F
Trompete in C
Posaune
Pauken
Christus
Violine 1
Violine 2
Viola
Violoncello
Kontrabass
Klavier(nur zum Studium)
Lento assai [q = 48]
mf
mf
mf
mf
mf
mf
mf sf
mf sf
mf sf
Lento assai [q = 48]
mf sf
c
c
c
c
c
c
c
c
c
c
c
c
c
c
c
c
Franz Liszt (1811-1886)Neufassung für Kammerorchester
von Ingo Schulz, 2013
Satz Nr. 11 aus „Christus”Tristis est anima mea
con sord.
con sord. divisi
con sord.
divisi
2.
1.
3
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Kl.
Fg.
Hn.
Pos.
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
mf
6
mf
mf
mf
gemendo dim.
mf
mf
mf
mf
gemendo dim.
4
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Kl.
Fg.
Hn.
Pos.
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
13
gemendo
sf
sf
sf
sf gemendo
5
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Kl.
Fg.
Hn.
Pos.
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
p
19
p
p
dim. perdendosi
molto accentato
mf
mf
mf
mf
perdendo
pesante
molto accentato
6
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Kl.
Fg.
Hn.
Pos.
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
p
26
p
p
p
marcato
con sord.
pizz.
7
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Kl.
Fg.
Hn.
Pos.
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
32
p
marcato
pizz.
8
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Fl.
Ob.
Kl.
Fg.
Hn.
Trp. (C)
Pos.
B. Solo
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
38
p
p
Tri stis est
sf
sf
sf
p dolente sf
p dolente sf
sfp dolente
senza sord.
con sord.
arco
9
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Fl.
Ob.
Kl.
Fg.
Hn.
Trp. (C)
Pos.
B. Solo
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
44
a ni ma me a us que ad mor
dim.
tem
p dolente
p dolente
dolente
10
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Fl.
Ob.
Kl.
Fg.
Trp. (C)
Pos.
B. Solo
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
47
Tri stis est a
sf
sf
sf
sf
sf
sf
11
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Ob.
Kl.
Fg.
B. Solo
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
53
ni ma me a us que ad mor
dim.
tem
mf
mf
mf
mf
mf
12
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Ob.
Kl.
Fg.
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
p
q = 70]57
p
p
espressivo
p
p
espressivo legato
espressivo legato
q = 70]
senza sord.
senza sord.3 3 3 3 3 3 3 3
senza sord.3 3 3 3 3 3 3 3
3
13
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Ob.
Kl.
Fg.
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
p
61
p
p
simile
simile
espressivo
3 3 3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3 3 3
14
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Ob.
Kl.
Fg.
Trp. (C)
Pos.
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
[q = 80]64
p
ppp
[q = 80]
3 3 3 3 3 3 3 3 3 3 3 3
3 3
3 3
3 3 3 3 3 3 3 3
15
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Ob.
Kl.
Fg.
Trp. (C)
Pos.
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
67
3 3 3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3
3 3 3 3 3
16
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Fl.
Ob.
Kl.
Fg.
Hn.
Trp. (C)
Pos.
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
[q = 90]70
f
f
p
p
p
sf apassionato cresc.
fp cresc.
fp cresc.
fp cresc.
fp
sf apassionato
cresc.[q = 90]
p
3 3 3 3 3
3
3 3
3 3 3
3 3 3 3 3
3 3 3 3
3
3
17
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Ob.
Kl.
Fg.
Hn.
Pos.
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
73
f marcato
f marcato
sf
sf
sf
sf
f
sf
3 3 3 3 3
3 3 3 3 3 3 3
3 3 3 3
3 3 3 3
3 3 3
18
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Ob.
Kl.
Fg.
Hn.
Trp. (C)
Pos.
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
f marcato
75
rinf
rinf
f
f marcato
f
frinf.
frinf.
f rinf.
f rinf.
f rinf.
frinf.
f marcato
senza sord.
3 3 3 3 3 3 3
3 3 3 3 3 3 3
3 3 3 3
3 3 3 3
3 3 3
3
19
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Fl.
Ob.
Kl.
Fg.
Hn.
Trp. (C)
Pos.
Pk.
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
f
[q = 100]77
f marcato
rinf
rinf
f marcato
mf
f
f rinf.
f rinf.
f rinf.
f
f
rinf.
[q = 100]
f marcato
3 3 3 3 3 3 3
3 3 3 3 3 3 3
3 3 3 3 3 3 3
3
20
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Fl.
Ob.
Kl.
Fg.
Hn.
Trp. (C)
Pos.
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
79
f
f
sf apassionato cresc.
fpcresc.
fp cresc.
fp cresc.
fp
sf
cresc.
p
3 3
3
3
3
3
3 3
3 3 3 3
3
3
21
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Ob.
Kl.
Fg.
Hn.
Pos.
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
81
f marcato
f marcato
sf
sf
sf
sf
f sf
sf
3 3 3 3 3
3 3 3 3 3 3 3
3 3 3 3 3 3 3
3 3 3 3 3
3 3
22
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Ob.
Kl.
Fg.
Hn.
Trp. (C)
Pos.
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
f marcato
83
rinf
rinf
f marcato
frinf.
f rinf.
f rinf.
f rinf.
f rinf.
rinf.
f marcato
3 3 3 3 3 3 3
3 3 3 3 3 3 3
3 3 3 3 3 3 3
3 3 3 3 3
3 3
3
23
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Fl.
Ob.
Kl.
Fg.
Hn.
Trp. (C)
Pos.
Pk.
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
85
f
f
mf
f f
f rinf.
f rinf.
f rinf.
f
rinfz.
3 3 3 3
3 3 3 3
3
3
3
3 3 3 3 3 3 3
3
24
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Fl.
Ob.
Kl.
Fg.
Hn.
Trp. (C)
Pos.
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
sempre piu rinf
87
sempre piu rinf
sempre piu rinf
f f
f f
sempre più rinf
sempre più rinf
sempre più rinf
sempre più rinf
sempre più rinf
3 3 3
25
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Fl.
Ob.
Kl.
Fg.
Hn.
Trp. (C)
Pos.
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
89
f f
f f
3 3
26
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Fl.
Ob.
Kl.
Fg.
Hn.
Trp. (C)
Pos.
Pk.
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
ff p
91
ff p
ff p
ff pp
ff p
ff p
ff
ff
ff p
ff p
ff p
ff p
ff p
marcato espress.
ff
3
3
27
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Fl.
Ob.
Kl.
Fg.
Hn.
Trp. (C)
Pos.
Pk.
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
ff p
93
ff p
ff p
ff p
ff p
ff p
ff
ff
ff p
ff p
ff p
ff p
ff p
ff
3
28
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Fl.
Ob.
Kl.
Fg.
Hn.
Trp. (C)
Pos.
Pk.
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
ff
95
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
29
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Fl.
Ob.
Kl.
Fg.
Hn.
Trp. (C)
Pos.
Pk.
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
97
ff
ff
ff
ff
ff
sempe ff
fff
div.
div.
30
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Fl.
Ob.
Kl.
Fg.
Hn.
Trp. (C)
Pos.
Pk.
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
99
f
ff
31
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Fl.
Ob.
Kl.
Fg.
Hn.
Trp. (C)
Pos.
Pk.
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
[q = 90]
101
mf
poco a poco decresc.
poco a poco decresc.
poco a poco decresc.
poco a poco decresc.
poco a poco decresc.
[q = 90]
poco a poco decresc.
32
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Fl.
Ob.
Kl.
Fg.
Hn.
Trp. (C)
Pos.
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
103
p
33
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Ob.
Kl.
Fg.
Trp. (C)
Pos.
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
[q = 80]105
p
[q = 80]
con sord.
3 3
34
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Kl.
Fg.
Trp. (C)
Pos.
Vl. 1
Vl. 2
Vla.
Vc.
Klav.
dim.
108
dim.
dim.
più dimin.
p
p
p
p più dimin. pp
pp
35
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Kl.
Fg.
Pos.
Vl. 1
Vla.
Vc.
Kb.
Klav.
pp
q = 56]112
pp
ppp
pp ppp
pp ppp
pp ppp
pp ppp
q = 56]
pp ppp pesante
mf
pizz.
36
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Kl.
Fg.
Hn.
Pos.
B. Solo
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
117
espress. dolente
p
ppp
Tri stis tri stis est a ni
molto accentato
molto accentato
marcato
con sord.
con sord.
con sord.
div.
37
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Kl.
Fg.
Hn.
Trp. (C)
Pos.
B. Solo
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
124
p
p
ma me a us que ad mor tem
marcato
pizz. sempre
38
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Kl.
Fg.
Hn.
Pos.
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
p
130
p
p
p
p
p
p
39
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Ob.
Kl.
Fg.
Hn.
Trp. (C)
Pos.
Vl. 1
Vla.
Vc.
Kb.
Klav.
f
(Alla breve taktieren) [h = 60]137
pp f
ppf
pp f
f
ppp mf
pp
pp
pp
pp
(Alla breve taktieren) [h = 60]
pp f
c
c
c
c
c
c
c
c
c
c
c
c
senza sord.
pizz.
pizz.
40
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Ob.
Kl.
Fg.
Hn.
Trp. (C)
Pos.
B. Solo
Klav.
f pp
144
f pp
f p
f pp
f pp
mp pp
Pa
f
ter Pa
f
ter si
p
pos si bi le
f
41
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Fl.
Ob.
Kl.
Fg.
Hn.
Trp. (C)
Pos.
B. Solo
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
sf
poco rit.153
f sf
f sf
f sf
f sf
f sf
mf
est tran se at a me ca lix i ste
f sf
f sf
f sf
f
f
poco rit.
f sf
senza sord. pizz.
senza sord. pizz.
senza sord. pizz.
pizz.arco
pizz.arco
42
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Fl.
Ob.
Kl.
Fg.
Hn.
Trp. (C)
Pos.
B. Solo
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
sf
a tempo161
f sf
f sf
f sf
f sf
f sf
f sf
tran se at a me ca lix i ste sed
f
f sf
f sf
f sf
f
f
sf
a tempo
f
pizz. arco
pizz. arco
43
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Ob.
Kl.
Fg.
Hn.
Trp. (C)
Pos.
B. Solo
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
f
168
f
f f
f f
f f
mf mf
non quod e go vo lo sed
f
quod
p
Tu
f f
f f
f f
f f
f f
ff
pizz.
pizz.
pizz.
pizz.
pizz.
44
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Fl.
Ob.
Kl.
Fg.
Hn.
Pos.
B. Solo
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
dolce espressivo
h = 65]176
dolce espressivo
p ppdolce espressivo
p pp
p ppdolce espressivo
mp ppp
quod Tu!
pp ruhig
pp ruhig
pp ruhig
p p
p p
p ruhig
h = 65]
p
arco3 3 3 3 3 3 3 3
arco3 3 3 3 3 3 3 3
arco3 3 3 3 3 3 3 3
arco
arco
45
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Fl.
Ob.
Kl.
Fg.
Hn.
Pos.
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
181
pp
simile
simile
simile
sempre legato
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
46
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Fl.
Ob.
Kl.
Fg.
Hn.
Trp. (C)
Pos.
B. Solo
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
185
p
p
p
p
pp
tran
simile
simile
con sord.
3 3 3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3 3 3
47
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Fl.
Ob.
Kl.
Fg.
Hn.
Trp. (C)
Pos.
B. Solo
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
sf
188
sf
sf
sf
sf
sf
sf
se at a me ca
poco cresc. dim.
poco cresc. dim.
poco cresc. dim.
poco cresc. dim.
poco cresc. dim.
rinfz.dim.
3 3 3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3 3 3
3 3 3
3
3
3
3
3
3
3
3
3
48
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Kl.
Fg.
Hn.
Trp. (C)
Pos.
B. Solo
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
p
191
p
p
lix i ste tran
p
p
p
p
p
p
3 3 3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3 3 3
3
3
3
3
3
3
3
3
3 3 3
3
49
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Fl.
Ob.
Kl.
Fg.
Hn.
Trp. (C)
Pos.
B. Solo
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
sf
194
sf
sf
sf
sf
sf
sf
se at a me ca
poco cresc. dim.
poco cresc. dim.
poco cresc. dim.
poco cresc. dim.
poco cresc. dim.
rinfz.dim.
3 3 3 3 3 3 3 3 3
3
3
3
3 3 3 3 3 3 3 3 3 3 3 3
3
3
3
3
3
3
3
3
3
3
3
3
50
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Ob.
Fg.
Hn.
Trp. (C)
Pos.
B. Solo
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
197
poco a poco cresc.
poco a poco cresc.
pp
poco a poco cresc.
lix i ste
ppoco a poco cresc.
ppoco a poco cresc.
p poco a poco cresc.
p poco a poco cresc.
p poco a poco cresc.
p
poco a poco cresc.
senza sord.
3
3
3
3
3
3
3
3
3
3 3 3
3 3 3 3 3 3 3 33
3
3
3
3
3
3
3
3
3
3
3
3 3
3 3
51
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Fl.
Ob.
Kl.
Fg.
Hn.
Trp. (C)
Pos.
B. Solo
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
cresc.
200
poco cresc.
sed non quod e go
simile
simile
simile
3 3 3 3 3 3 3 3
3
3
3
3
3 3 3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3
3
3
3
3
3 3
52
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Fl.
Ob.
Kl.
Fg.
Hn.
Trp. (C)
Pos.
B. Solo
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
f
203
f
f
f
p
p mf
vo lo sed
f
più cresc. f
più cresc. f
più cresc.f
più cresc. f
più cresc. f
f
3
3 3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3
3
3
3 3 3
3 3
3 3 3 3
3
3 3 3 3 3
53
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Fl.
Ob.
Kl.
Fg.
Hn.
Trp. (C)
Pos.
B. Solo
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
ff
206
ff
ff sf
ff
ff sf
p f ff
ff ff
quod Tu sed
ff
ff fff
ff fff
ff fff
ff fff
ff fff
ffff
3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 33 3 3
3 3 3
3 3 3
54
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Fl.
Ob.
Kl.
Fg.
Hn.
Trp. (C)
Pos.
Pk.
B. Solo
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
p simile
[q = 70]210
p simile
p legato
p
p p
pp
p ppp
ppp ma un poco marcato
quod Tu
p
p
p
mp legato
p
p
p
[q = 70]
sempre legato
lunga
lunga
lunga
lunga
lunga
lunga
lunga
lunga
lunga
3
3
3
3
3
3
3
3
3
3
3
3lunga
3 3 3
3 3 3
lungadiv.
3 3 3 3 3 3lunga
3 3 3 3 3 3lunga
3 3 3 3 3 3
55
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Fl.
Ob.
Kl.
Fg.
Hn.
Trp. (C)
Pos.
Pk.
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
214
dim.
simile
p
pdim.
3
3
3
3
3
3
3
3
3
3
3 3 3 3 3
3 3 3 3 3
3 3
3 3 3
3 3
3 3 3
56
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Fl.
Ob.
Kl.
Fg.
Hn.
Pos.
Pk.
B. Solo
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
p pp
217
pp
pp
p pp
p
p
pp pp
quod Tu
p
p
p
p
pp trem.
pp trem.
3 3 3
3
3
3
3
3 3 3 3 3
3 3 3 3 3
3
3
57
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Fl.
Ob.
Kl.
Fg.
Hn.
Trp. (C)
Pos.
Pk.
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
221
sempre legato
p
pp
ppp
p
sempre legato
3 33
3
3
3
3
3
3
33 3
3
3
3 3 3
3 3 3 3 3 3
3 3 3 3 3 3
3 3 3 3 3 3
58
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Fl.
Ob.
Kl.
Fg.
Hn.
Trp. (C)
Pos.
Pk.
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
p
224
pp
dim.
p
p
p
pp
dimin. p
dimin. p
dim. p
dimin.
dimin.
p
3
3
3
3
3
3
3 3
3 3 3 3 3
3 3 33 3
3 3 3
3 3 3
59
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Fl.
Ob.
Kl.
Fg.
Hn.
Pos.
Pk.
B. Solo
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
perdendo
228
pp
p
pp
quod Tu!
perdendo
perdendo
pp perdendo
3 3 3 3
3 3 3 3
3 3 3 3
60
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Fl.
Ob.
Kl.
Fg.
Hn.
Trp. (C)
Pos.
Pk.
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
Klav.
pp pp
232
pp
pp pp
pp
pp
p dolce ma acentato dim. ben tenuto
ppp
pp
p
pp
p
p
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Fl.
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62