charles villiers stanford’s preludes for piano op.163...
TRANSCRIPT
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N U I M A Y N O O T HO llsco i! na h£«reann M& Nuad
Charles Villiers Stanford’s Preludes for Piano op.163 and op.179:
A Musicological Retrospective
Supplementary Volume
Adèle Commins
Thesis Submitted to the National University o f Ireland, M aynooth for the degree of Doctor o f Philosophy
Departm ent o f M usic National University of Ireland, M aynooth
M aynooth Co. Kildare
2012
Head o f Departm ent: Supervisors:
Professor F iona M. Palm er Dr Lorraine Byrne Bodley & Dr Patrick F. D evine
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Twenty-Four Preludes in all the Keys
for Pianoforte op. 163
&
Twenty-Four Preludes in all the Keys
for Pianoforte op. 179
Charles Villiers Stanford
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Table of Contents
Table of Contents
List of Figures................................................................................................................. ii
List of T ab les................................................................................................................. iii
Part 1: Editorial Commentary and List of Emendations....................................1
Editorial Commentary.................................................................................................. 1
I Introduction................................................................................................................................. 1II Stem m a......................................................................................................................................... 1III Published Sources..................................................................................................................... 2IV Key Considerations................................................................................................................... 3V Editorial Process.........................................................................................................................4VI Aim of This E d ition .................................................................................................................. 5VII Variants and List of Em endations.......................................................................................... 5
Part 2: Edition of Twenty-Four Preludes in all the Keys for
Pianoforte op.163 and op .179................................................................... 12
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List of Figures
List of Figures
Fig 1: Stemma o f Stanford’s Preludes..................................................................................................... 1
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List of Tables
List of Tables
Table 1: Key to Sources..............................................................................................................................2Table 2: List o f Variants in Twenty-Four Preludes in all the Keys for Pianoforte op. 163 .5Table 3: List o f Variants in Twenty-Four Preludes in all the Keys for Pianoforte op. 179 .8
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Abbreviations
Abbreviations
Designations for Pitch Register
The following designation is used to determine pitch register:
o
¥ o
C C ccc
Abbreviations
The following are a list of abbreviations used in the Editorial Commentary:
Original Term Abbreviation
Right Hand RHLeft Hand LH
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Editorial Commentary and List of Emendations
Part 1: Editorial Commentary and List of Emendations
Editorial Commentary
I Introduction
Through my engagement with Stanford’s forty-eight preludes, op. 163 and op. 179, it became
apparent that there were a number of mistakes in the original published version of the
collection. I, therefore, undertook to prepare a new clear and consistent working edition of the
preludes along with an editorial commentary which would include a list of variants. The
preparation of a performing or critical edition did not fall within the scope of this dissertation
but will be the next viable step in the future dissemination of the preludes.
II Stemma
W ithout the availability of neither the autograph score nor the engraver’s copy, it is difficult
to determine where the fault for many of the omissions and mistakes lie. The stemma of
Stanford’s preludes, therefore, was as follows:
Fig 1: Stemm a o f Stanford’s Preludes
1
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Editorial Commentary and List of Emendations
Table 1: Key to Sources
Abbreviation Explanation Availability Date o f Publication
A Autograph Score Lost N/A
SW Swan & Co. Publication
Library Sources1 (no longer available for purchase)
1919 (op.163) & 1921 (op. 179)
CH Chiltern Music Publication
From Publisher 1992
III Published Sources
The earliest extant versions of the preludes are the Swan & Co. publications from 1919 and
1921 respectively. Chiltern Music reissued both sets of preludes in 1992 and maintained the
grouping o f preludes in seven series as per the arrangement of the original publication.
However, an examination of this edition reveals that it is indeed a photocopy o f the original
Swan & Co. publication, clearly having used the same plates as for the initial publication.
Despite amending the time signature in Prelude no.8, evidence o f the Chiltern publication
being a direct photocopy of the Swan & Co. publication is most obvious when one examines
the first page o f Prelude no.37. Furthermore, the Chiltern publication amended the copyright
notice which is placed at the bottom of first page of each series. However, on the first page of
the sixth series which commences with Prelude no.37, the imprint of the original copyright
notice from Swan & Co. is still visible where it came through on the photocopy. This is
disappointing to note in this new edition. Other similarities are evident, including the font
used for the date ‘Sept. 1918’ which is included on the final page o f the First Series of op .163.
Many of the reissues o f Stanford’s music by Cathedral M usic are issued directly from the
original publications without any editorial markings. One such example is Stanford’s Six
Bible Songs op. 113. As the 1992 edition of Stanford’s preludes failed to correct the numerous
For the purposes o f compiling this edition, the author consulted the Swan & Co. Publication available in the Robinson Library, Newcastle University.Blotches, faded notes and other miscellaneous detail were compared between the two editions and found to be similar in both. See for example, Prelude op. 163 no.3.
2
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Editorial Commentary and List of Emendations
mistakes present in the original publication, I have prepared an edition of the preludes to
accompany this thesis.
IV Key Considerations
Before compiling my edition of Stanford’s preludes I consulted a number of sources for
guidance on the preparation of this edition.3 In particular, guidelines issued by publishers
regarding the presentation of critical editions proved useful in determining the layout of the
emendations. For example, some editions list the emendations in paragraph format, some
guidelines recommend tabular format.4 W hile some editorial methods remove redundant
accidentals without further comment, I have chosen to include all of my modifications in the
critical commentary to demonstrate the comprehensive study undertaken. As many editors
note that ‘additions by analogy must be made as sparingly as possible’ and carried out with
caution, this has been respected in the preparation of this edition.5 Unifications by analogy
were carefully considered in the context of articulation markings. The possibility that many of
these omissions might have been intentional was also proposed, but each of the changes made
to articulation markings have been justified in the context of similar passages. One such
example was Prelude no.20 where it was considered that some of the articulation
discrepancies were intentional. However, after performance and thorough examination it was
decided to amend the articulation markings from the original publication.
James Grier, The C ritical Editing o f Music: History, Method, and Practice (Cambridge; N ew York, N Y , USA: Cambridge University Press, 1996). Web sources included Paul Wranitzky, ‘Concerto for V ioloncello and Orchestra, op.27: A Critical Edition’,<http://contentdm.lib.bvu.edu/ETD/image/etd3278.pdf> [accessed 28 July 2011], H .W iley Hitchcock, ‘Critical Commentaries for Charles Ives 129 S ongs’,<http://www.charlesives.org/critical commentarv/Ives% 20129% 20Songs.pdf> [accessed 28 July 2011] and The Management o f the N ew Complete Dvorak Edition, ‘Editorial Principles for the N ew Complete Edition o f the Works o f Antonín D vorak’,<http://musicologv.ff.cuni.cz/pdf/gabrielova/Editorial Principles NDE.pdf> [accessed 28 July 2011], One such example is The Management o f the N ew Complete Dvorak Edition, ‘Editorial Principles for the N ew Complete Edition o f the Works o f Antonín D vorak’, <http://musicologv.ff.cuni.cz/pdf/gabrielova/Editorial Principles NDE.pdf> [accessed 28 July 2011], ‘Editorial Principles for the N ew Complete Edition o f the Works o f Antonín D vorak’,
<http://musicologv.ff.cuni.cz/pdf/gabrielova/Editorial Principles NDE.pdf> [accessed 28 July 2011],
3
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Editorial Commentary and List of Emendations
Some editors choose to mark the additions and revisions in the printed musical
score with square brackets [ ] and to use dashed lines to notate editorial slurs.6 However, as
the aim of the edition is to provide a clear reading of the score which will enable performers
to have an accurate performing score, it was felt necessary to omit such markings on the
score; the critical commentary should clarify all the alterations to the score. Consideration
was given to the grouping of the preludes in the original publication and it was decided to
leave the grouping in its original layout.
V Editorial Process
As the manuscript for these works is missing this makes determining the extent of the
mistakes a much more difficult process. Therefore, the 1919 and 1921 publications are the
sole source for preparation of this new edition. My editorial method consists of listing the
variants bar by bar which were encountered during my study o f each of the individual
preludes. M y work consisted of additions, unifications and corrections.7 Some of the mistakes
detected are basic errors while others are based on my interpretation o f the music based on
performance, historic and harmonic judgement. Other considerations involved deciding on the
most effective way of presenting the edited music.
Editorial additions included amending articulations, unifying slurs, adding
occasional rests and making pitch alterations and revising the time value o f particular notes.
There were also alterations to both time signatures and key signatures. Erroneous notes are
corrected and included in the critical commentary but not highlighted on the score.
Consideration was given to supplying numbers for triplets, sextuplets, septuplets etc. with
some irregular subdivision of note values added in for clarity, and for unifying the use of 8va
‘Editorial Principles for the New Complete Edition o f the Works o f Antonín Dvorák’, < http://musicologv.ff.cuni.cz/pdf/eabrielova/Editorial Principles NDE.pdf> [accessed 28 July 2011 ].
7I have taken this terminology from ‘Editorial Principles for the N ew Complete Edition o f the Works o f
Antonín Dvorák’, <http://musicologv.ff.cuni.cz/pdf/gabrielova/Editorial Principles N D E .pdO [accessed 28 July 201 I f
4
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Editorial Commentary and List of Emendations
throughout the sets. It was decided to leave many as they were in the original publication as
the music was already clear in this regard. A decision was also taken that the addition of
cautionary accidentals was not necessary. However, redundancies such as unnecessary
accidentals repeated in the same bar were removed. In some instances the direction of note
stems and beams were reversed for ease of reading; these have not been noted in the
commentary. Throughout the collection of preludes there are a number o f misspelling of notes
in terms o f fitting in with the surrounding harmony.8 These ‘errors’ have not been amended
for this edition.
VI Aim of This Edition
Rectifying the various mistakes will provide a musical text which can be trusted when used
for study and performance. The availability of such an edition will ensure that a more
authentic representation of the composer’s intentions is available which will lead to a wider
knowledge and circulation of the works.
VII Variants and List of Emendations
Table 2: List o f Variants in Twenty-Four Preludes in all the Keys for Pianoforte op.163
Prelude Bar Beat Note Alteration HandNumber Number Number9
1 19 4 1 Crotchet rest amended to g LH22 1 1 Addition of minim rest LH39 2 1 Notes amended to E and EE LH58 3 1 Addition of flat sign to e ” RH70 3 1 Deletion o f tie RH
2 17 2 1 Omission o f slur RH
3 14 3 1 Note amended to FF RH37 1 1 Note value amended to minim RH38 4 1 Addition o f natural signs to a and
o ’
RH
43 1aOmission o f crescx0 -
See for example, Preludes nos 36 & 37.For the purposes o f numbering the notes and rests are all counted while grace notes are also included.
5
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Editorial Commentary and List of Emendations
56 1 1 Note value amended to semibreve R H & L H
5 34 4 Omission of rest for consistency (See bars 31-33)
LH
47 1 1 Rest amended to dotted crotchet LH
6 24 2 Note value amended to minim (to mirror layout in bar 27)
RH
7 6 2 1 Note value amended to dotted quaver
RH
9 1 1 Rest amended to dotted quaver rest
RH
9 3 1 Rest amended to semiquaver LH12 1 1 Rest amended to dotted quaver RH31 2 1 Addition of natural to a LH47 3 1 Rest amended to semiquaver LH
8 - - - Time signature amended to 2 /411 -
18 1 6 Note amended to f RH65 1 Slur carried from previous bar is
missingLH
9 9 4 1 Addition of staccato marking to a RH11 1 2 Addition of natural sign to d ’ RH12 2 1 & 2 Note values amended to quavers RH14 1 3 Addition o f sharp sign to d ” RH16 3 3 Addition of natural sign to e LH
10 40 1 1 Addition of semibreve rest LH
11 79 1 1 Continuation o f slur from bar 78 RH
12 26 4 1 Omission o f natural sign on d' and addition o f natural sign to e ’
LH
34 4 1 Addition of quaver rest RH35 4 1 Addition of quaver rest RH37 3 1 Addition of double dot LH
13 11 2 1 Addition of dot RH18 1 2-4 Note values amended to
demisemiquaversRH
19 1 2^1 Note values amended to demisemiquavers
RH
24
24
1
3
2^1
2-4
Note values amended to demisemiquavers Note values amended to demisemiquavers
RH
28 3 2^1 Note values amended to RH
This was omitted for clarity as the crescendo marking commenced in bar 42. This had been corrected for the Chiltem Publication o f 1992.
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Editorial Commentary and List of Emendations
3650
32
11
demisemiquavers Addition of natural sign to c ” Note values amended to demisemiquavers
RHRH
14 1 3 1 Note amended to b LH6 9 1 Addition of natural sign to e, e ’ R H & L H
and ee’7 1 1 Note value amended to RH
semiquaver9 6 1 Addition of natural sign to e, e ’ R H & L H
and ee’10 5 1 Addition of natural sign to b and R H & L H
b ’17 8 1 Addition of natural sign to a’ RH17 9 1 Addition of sharp sign to g ’ RH20 9 1 Omission of slur/tie LH
15 60 2 2 Addition of slur RH62 2 2 Addition of slur RH64 2 2 Extension o f slur RH
16 10 1 1 Stem direction amended (See bar LH21)
12 1 1 Stem direction amended (See bar RH21)
12 1 1 Omission of rest for consistency LH(See bar 10)
14 4 2-5 Addition of slur RH20 4 2 Flat sign added to b ’ ’ RH20 4 1-3 Addition of slur RH21 4 1-6 Note values amended to R H & L H
semiquavers
18 31 1 2 Addition of natural sign to d ’ LH
19 13 3 1-6 Beaming amended RH
20 11 1 1 & 2 Addition of staccato m arking to a’ RHand e ”
16 1 1 & 2 Addition of staccato m arking to g ’ RHand e ”
27 3 1 Omission of staccato marking RH32 1 2 Omission of sharp sign on a and LH
addition of sharp sign to c ’33 1 1 & 2 Addition of staccato m arking to E LH
and e
7 6 1 Addition of natural sign to g ’ RH11 6 2 Addition of flat sign to a ’ RH36 5 1 Addition of quaver rest LH36 6 1 Addition of octave from fifth beat LH
7
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Editorial Commentary and List of Emendations
to sixth beat in keeping with thepattern utilised in other bars
23 17 2 3 Omission of natural sign on a’ RH30 1 1 Addition of natural sign to a RH
24 17 4 7 Omission of sharp sign on g LH19 3 1 Addition of minim rest LH21 1 1 Note value amended to minim RH
Table 3: List o f Variants in Twenty-Four Preludes in all the Keys for Pianoforte op.179
PreludeNumber
BarNumber
Beat NoteNumber
Alteration Hand
25 15 4 2 Notes moved to bass clef for clarity
RH
16 1 1 Notes moved to bass clef for clarity
RH
20 3 1 Notes moved to treble clef for clarity
RH
21 3 1 Notes moved to treble clef for clarity
RH
21 4 1 Addition of flat sign to b ’ RH22 3 1 Notes moved to treble clef for
clarityRH
2324
31
1 Addition of minim rest Addition of quaver rest
RHRH
27 2 & 3 1-1 Beam added to notes RH & LH34 2 2-9 Note values amended to
hemidemisemiquaversRH & LH
34 4 2-9 Note values amended to hemidemisemiquavers
RH & LH
35 2 2-9 Note values amended to hemidemisemiquavers
RH & LH
28 33 Time signature amended to 3/4 -
29 26 6 2 Omission o f natural sign o n e ” ’ RH28 2 2 Sharp sign added to a LH
30 15 2 2 Addition o f flat sign to a LH
31 3 3 1 Note amended to B flat LH31 4 1 Omission o f natural sign on d” RH
32 3 3 3 Note amended to b ’flat LH5 Omission o f treble clef at end of
barLH
25 2 1-9 Correct note subdivisions added RH
8
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Editorial Commentary and List of Emendations
25
26
27
27
28
33
34
39444952
3
1
2
3
2
1
3
2123
2-9
2-6
1-9
2-8
1-7
2 -6
1-6
2333
for clarityNote values amended to hemidemisemiquavers Correct note subdivisions added for clarityCorrect note subdivisions added for clarityCorrect note subdivisions added for clarityCorrect note subdivisions added for clarityCorrect note subdivisions added for clarityCorrect note subdivisions added for clarityAddition of flat sign to f Addition of natural sign to c Addition of natural sign to c ” Addition of flat sign to f
RH
RH
RH
RH
RH
RH
RH
LHLHLHLH
33 1 2 1 Addition of staccato marking RH10 2 1 Addition of natural sign to c ’ RH11 2 1 Addition of natural sign to c ’ RH12 1 1 Addition of natural sign to c ’ RH87 1 2 Addition of quaver rest RH88 1 2 Addition of quaver rest RH
34 5 1 1 Omission o f natural sign RH5 3 1 Omission of natural sign LH6 2 1 Omission o f natural sign LH
35 14 4 1 & 2 Addition o f staccato marking LH
36 l 12 1 1 Rest moved to bass clef for clarity RH
37 66 1 1 Addition of staccato marking LH
38 4 3 2 Addition of natural sign to b RH18 3 2 Addition of natural sign to a LH
39u 5 2 1 Note d’ amended to b LH
40 24 2 1 Note D amended to E LH35 2 5 Addition of ledger line for clarity LH
41 - Inclusion of repeat sign at beginning for clarity
3 4 2 Addition of flat sign to RH
Rests were also moved to bass c le f for clarity in the follow ing bars: 2, 3, 4, 5, 6, 16, 17, 18, 19, 20, 21, 22, 28, 50 & 51.For the return o f music from bar 3 in bar 61, the composer has chosen a different layout. This has been left as per the original publication.
9
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Editorial Commentary and List of Emendations
422224
21
11
Revision of key signature14 Addition of double sharp sign to f Addition o f tie and slur across the barline from previous bar
RHLH
43 - - Time signature amended to 3/2 -
19 3 1 Addition of notes15 RH32 1 1 Addition o f natural sign to f ’ RH
45 32 8 1 Addition of flat sign to b ’ RH
46 25 3 Note amended to d LH26 3 1 Addition of ledger line for clarity LH
47 24
28
1
3
1 Note value amended to dotted crotchetAddition of natural sign to d
RH
LH3039
11
1 Note value amended to quaver Addition of natural sign to d ”
LHLH
54 1 1 Note value amended to minim LH65 1 1 Addition of triplet for clarity RH & LH
48 9 4 2 Addition of quaver rest LH16 2 3 Addition o f flat sign to b for
clarityLH
17 2 3 Addition of flat sign to b for clarity
LH
25 2 2 Addition of flat sign to d LH25 4 1 Addition of flat sign to d ” and
rP ’ ’RH
26 2 3aAddition of flat sign to d ’ LH
26 3 1 Addition of flat sign to d LH34 2 1 Note value amended to dotted
crotchetRH
35 4 1 Addition of flat sign to e ’ RH35 3 1 Addition of ledger line to E for
clarityLH
44 2 1 Addition of sharp sign to e LH
An examination o f the preludes has highlighted that there are inconsistencies in the number of
beats per bar in a number of the pieces. In all but one case (Prelude no.3), these preludes
As all sharp signs have been placed beside those notes which were to be played as sharp notes, the revision o f key signature necessitated the placing o f natural signs beside those notes in the key signature which were to be played as natural. These revisions have not been annotated here.There is a possibility that notes have been omitted here and one suggestion has been included in this edition.
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Editorial Commentary and List of Emendations
began with an upbeat.16 However, the number of beats in the final bar did not correspond.
This inconsistency was noted in Preludes nos 7, 10, 24, 31, 33, 40, 44 and 48.
Revised editions of Twenty-Four Preludes in all the Keys for Pianoforte op. 163
and op. 179 now follow.
W hile this prelude does not commence with an upbeat, the final bar does not have the correct number o f beats.
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Edition of Twenty-Four Preludes in all the Keys for Pianoforte op. 163 and op. 179
Part 2: Edition of Twenty-Four Preludes in all the Keys for Pianoforte op.163 and op.179
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VIIAllegro marziale
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VIII( S t u d y )
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34
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IXAndante giusto
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37 Allegro
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XTempo di Valse
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26 ^ |
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Andante cantabile XI
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27
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70
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18
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Andante
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XIVA llegretto moderato.
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XVIII
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XXA llegro giocoso
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XXI
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XXIIA lla m arcia solenne ( IN M EM O RI A M . M .G .)
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A ndante m oderato. (alla mi
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XXIV
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16
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XXVAndante e largamente
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XXVIA llegro
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XXVII
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XXXIVTempo di Valse
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59
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XXXVAllegro moderato
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i f e g
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16
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XXXVIIFUGHETTA
Allegro scherzandob N
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3
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