edition of selections from appunti op. 210 by...
TRANSCRIPT
APPROVED: Thomas Johnson, Major Professor Warren Henry, Committee Member Philip Lewis, Committee Member John Holt, Chair of the Division of
Instrumental Studies Lynn Eustis, Director of Graduate Studies,
College of Music James C. Scott, Dean, College of Music James D. Meernik, Acting Dean of the
Toulouse Graduate School
ESTABLISHING EDITORIAL PRINCIPLES TO CREATE A PERFORMANCE
EDITION OF SELECTIONS FROM APPUNTI OP. 210 BY
MARIO CASTELNUOVO-TEDESCO
Chris Lee, B.M., M.M.
Dissertation Prepared for the Degree of
DOCTOR OF MUSICAL ARTS
UNIVERSITY OF NORTH TEXAS
May 2012
Lee, Chris. Establishing Editorial Principles to Create a Performance Edition of
Selections from Appunti op. 210 by Mario Castelnuovo-Tedesco. Doctor of Musical Arts
(Performance), May 2012, 67 pp., 18 examples, 5 complete transcriptions, references, 19
titles.
This paper examined editorial methods used in producing published versions of the
music of Mario Castelnuovo-Tedesco (1895-1968). From this examination, I established
some editorial principles to create a performance edition of five movements from book two
of Castelnuovo-Tedesco’s Appunti op. 210. This paper includes a discussion of the sources
and methods used in establishing editorial criteria. At the request of the Milanese guitarist
Ruggero Chiesa (1933-1993), Castelnuovo-Tedesco set out to create a collection of didactic
pieces for young guitarists. The pieces were to be collaboratively edited and fingered by
Chiesa, and then given final approval by the composer. Unfortunately, the composer died
before finishing the work. The pieces and sketches that survive exist in four volumes
published by the Italian house, Suvini Zerboni, containing the pieces that Chiesa edited with
the approval of Castelnuovo-Tedesco. The published edition also includes unedited pieces
that did not undergo the collaborative process. With the goal of maintaining an unadulterated
portrayal of the composer’s intentions, Chiesa presented these pieces as they
appear in the manuscript. Much of the music is unidiomatic and either impossible or highly
impractical to play. My study established some editorial principles for use in creating a
performance edition of this work. The edition includes my engraving of the original unedited
manuscript as well as ossia measures containing solutions to performance problems. The
suggested solutions balance the perception of the composer’s intentions, established editorial
practices, and idiomatic concerns to creating a playable edition.
ii
Copyright 2012
by
Chris Lee
iii
ACKNOWLEDGEMENTS
Thank you to my wife Kelly. During the course of writing this dissertation Kelly gave
birth to twins, worked full time, and still enabled me to find time to complete this project. Thank
you to my children Oscar and Sophia, whose arrival provided a great boost in motivation.
Thank you to my parents James and Judy for their love and support. Thank you to my
sisters Jennifer, Sally, Katie, and Amy.
Thank you to Dr. Warren Henry for guidance both in the context of this project, and as a
role model in professionalism, leadership, and compassion.
I am very grateful to Lisbeth and Diana Castelnuovo-Tedesco for allowing me access to
copies of the composer’s original manuscripts. In addition, the Castelnuovo-Tedescos requested
that I append digital photographs of the manuscripts from Appunti for comparison to my
performance edition. Thank you to the Castelnuovo-Tedescos for their commitment to sharing
the composer’s work in the spirit of artistic legacy and scholarship.
iv
TABLE OF CONTENTS
Page ACKNOWLEDGEMENTS ........................................................................................................... iii PART I: ESTABLISHING EDITORIAL PRINCIPLES ................................................................1
Introduction ..........................................................................................................................2
Purpose .....................................................................................................................2
Significance and State of Research ..........................................................................3
Method .................................................................................................................................8
Escarramán op. 177 ...........................................................................................................10
Appunti op. 210 ..................................................................................................................16
Allemanda ..............................................................................................................17
Corrente .................................................................................................................18
Gavotta ...................................................................................................................19
Siciliana .................................................................................................................20
Giga........................................................................................................................23
Conclusion .........................................................................................................................25
References ..........................................................................................................................26 PART II: THE PERFORMANCE EDITION ................................................................................28 APPENDIX: COPIES OF MANUSCRIPTS .................................................................................54
1
PART I
ESTABLISHING EDITORIAL PRINCIPLES
2
Introduction
Purpose
This paper examines editorial methods used in producing published versions of the music
of Mario Castelnuovo-Tedesco (1895-1968). From this examination, I established some editorial
principles to create a performance edition of five movements from book two of Castelnuovo-
Tedesco’s Appunti op. 210. This paper includes a discussion of the sources and methods used in
establishing editorial criteria.
Castelnuovo-Tedesco was a prolific composer. He wrote many choral, orchestral and
chamber works for a large variety of instruments.1 In response to the growing persecution of
Jewish people throughout Europe, Castelnuovo-Tedesco moved from his native Italy to the
United States in 1939. After eventually settling in Hollywood, the composer wrote music for
hundreds of films. Although not a guitarist, Castelnuovo-Tedesco wrote a large number of works
for the guitar. Given the unique characteristics of the guitar, Castelnuovo-Tedesco frequently
relied on the assistance of a guitarist in editing pieces.
At the request of the Milanese guitarist Ruggero Chiesa (1933-1993), Castelnuovo-
Tedesco set out to create a collection of didactic pieces for young guitarists.2 The pieces were to
be collaboratively edited and fingered by Chiesa, and then given final approval by the composer.
Unfortunately, the composer died before finishing the work. The pieces and sketches that survive
exist in four volumes published by the Italian house, Suvini Zerboni, containing the pieces that
Chiesa edited with the approval of Castelnuovo-Tedesco.3 The published edition also includes
unedited pieces that did not undergo the collaborative process. With the goal of maintaining an
1 James Westby, “Mario Castelnuovo-Tedesco” Grove Music Online (accessed March 8, 2012). 2 Corazon Otero, Mario Castelnuovo-Tedesco His Life and Works for Guitar (Newcastle upon Tyne: Ashley Mark Publishing Company, 1999), 127. 3 Mario Castelnuovo-Tedesco, Appunti: Prelude e Studi per Chitarra. (Milan: Edizione Suvini Zerboni, 1968), i
3
unadulterated portrayal of the composer’s intentions, Chiesa presented these pieces as they
appear in the manuscript.4 Much of the music is unidiomatic and either impossible or highly
impractical to play. My study established some editorial principles for use in creating a
performance edition of this work. The edition includes my engraving of the original unedited
manuscript as well as ossia measures containing solutions to performance problems. The
suggested solutions balance the perception of the composer’s intentions, established editorial
practices, and idiomatic concerns to creating a playable edition.
Significance and State of Research
Starting shortly after the composer’s death in 1968, interest in Castelnuovo-Tedesco and
his numerous works for the guitar led to many master’s theses and doctoral dissertations. These
writings illustrate the significant impact Castelnuovo-Tedesco had on guitarists and scholars.
Relevant papers include: Peter Anthony Higham’s “Castelnuovo-Tedesco’s Works for Guitar”
(M.M. thesis, University of Alberta, 1977), Peter E. Segal’s “The Role of Andrés Segovia in Re-
shaping the Repertoire of the Classical Guitar” (D.M.A. dissertation, Temple University, 1994),
David S. Asbury’s “20th Century Neo-Romantic Serialism: The Opus 170 Greeting Cards of
Mario Castelnuovo-Tedesco” (D.M.A. dissertation, University of Texas, 2005), Eric Robles’
“An Analysis of Mario Castelnuovo-Tedesco’s Vogelweide: Song Cycle for Baritone and
Guitar” (D.M. dissertation, Florida State University, 2004), Matthew G. Hinsley’s “Text-Music
Relationships in Mario Castelnuovo-Tedesco’s Vogelweide (D.M.A. dissertation, University of
Texas, 2003), and Dario Leendert van Gammeren’s “The Guitar Works of Mario Castelnuovo-
Tedesco: Editorial Principles, Comparative Source Studies and Critical Editions of Selected
Works” (Ph.D. thesis, University of Manchester, 2008). Although each of these sources provide 4 Castelnuovo-Tedesco, Appunti, i.
4
analytical insight into the norms and methods Castelnuovo-Tedesco developed throughout his
career, Van Gammeren’s thesis provides the most detailed level of information regarding the
investigation of intentionality and the editorial process.
In his doctoral thesis, Van Gammeren evaluates various editions of three pieces by
Castelnuovo-Tedesco. These pieces are: the Suite op. 133, Tonadilla op. 170/5, and Serenatella
from Tre preludi mediterranei op. 176. Using authenticated source material, Van Gammeren
describes specific guidelines for establishing the clearest possible view of the composer’s
intentions. The thesis is thorough and unwavering in placing equal importance in every detail of
a given manuscript.
In culminating his thesis, Van Gammeren presents a critical edition of each the
previously mentioned pieces. Accompanying each edition are explanations of how the sources
were chosen, which markings and indications are believed to best express the composer’s
intentions, and why. Van Gammeren presents emendations to the pieces through ossia measures
above the music. The author only includes emendations that were explicitly sanctioned by the
composer, stating, “…it can only be assumed that all revisions that have technical benefits were
made with non-artistic underlying reasons.”5 An example of an acceptable editorial emendation
can be seen below. In this case, Van Gammeren includes an ossia measure in which an
impossible chord is re-voiced. Van Gammeren provides evidence that the composer approved
this alteration.
5 Van Gammeren, Source Studies, 122.
5
Ex. 1. Suite op. 133 mvt 1 mm. 1 (quasi un’ improvvisazione) mm. 2 lower staff is from published edition, upper staff ossia contains sanctioned changes
The work of Van Gammeren represents a concise view of the scholarly side of editing.
The author includes meticulously researched sources and excludes information that may obscure
Castelnuovo-Tedesco’s intentions, providing a template for the structure of the edition included
in this paper. In making this edition, I followed Van Gammeren’s example for engraving the
composer’s manuscript, striving to create an edition that both reflects the intentions of the
composer and clearly delineates editorial alterations. The end product combines the stricter
expectations of a critical edition with the practical considerations of a performance edition.
A wealth of research exists regarding collaboration between Castelnuovo-Tedesco and
various guitarists. There are also many master’s theses and doctoral dissertations that discuss
both editorial procedures and collaboration between guitarists and non-guitarist composers.
These include Michael Allen Boyd’s “The Works for Guitar and Orchestra of Federico Moreno-
Torroba and Performing Edition of Romancillos for Guitar and Orchestra” (D.M.A dissertation,
University of Southern Mississippi, 2005), John Clyde Ingwerson’s “Manuel Ponce’s Variations
sur Folia de España et Fugue: A Study of Compositional Procedures and Ponce’s use of the
Folia Theme” (D.M.A. dissertation, University of Arizona, 1996), Jay Smith’s “An Overview
and Performance Guide to Manuel Ponce’s Sonata III for Solo Guitar” (D.M.A. dissertation,
6
University of North Texas, 2006), and James Edwin Ferguson’s “Darius Milhaud’s ‘Segoviana’
History, Style and Implications. Toward a Performance Edition“ (M.F.A. thesis, Mills College,
1990). These resources, and portions of the theses and dissertations mentioned previously, are
useful in examining the collaborative impetus of non-guitarist composers in creating works for
the guitar.
There are also a large number of books that discuss collaborations between non-guitarist
composers and guitarists, and the establishment of editorial procedures and norms. One of the
best resources is Corazon Otero’s Mario Castelnuovo-Tedesco, His Life and Works for the
Guitar (1999). Otero compiled pertinent biographical information with correspondence between
Castelnuovo-Tedesco and a large number of important musical figures. Other similar resources
concerning collaboration and editorial practices include: Otero’s Manuel Ponce and the Guitar
(1994), Graham Wade’s Segovia (1983), and the autobiography of Andrés Segovia (1976).
There are many journal articles that discuss Castelnuovo-Tedesco, his connection to the
guitar, and editorial practices in relation to his music. Among the most notable are: “The Literary
Origins of Castelnuovo-Tedesco’s ‘Escarramán’ –Two Entremeses of Miguel Cervantes” (Long
2001), “The Manuscripts of the Andrés Segovia Archive” (Gilardino 2002), “The Chamber
Music of Mario Castelnuovo-Tedesco (1895-1968)” (Keaton 1994) and, “The Composer’s
Problems” (Brindle 1990).
There is an abundance of research and writing about Castelnuovo-Tedesco and his
compositions for guitar. In addition to the numerous resources listed previously, the Library of
Congress houses a large collection of Castelnuovo-Tedesco’s manuscripts, printed scores, and
correspondence between the composer and important musical figures. Housed mainly in the
Hans Moldenhauer archives, these resources are accessible through the permission of Lisbeth
7
Castelnuovo-Tedesco, widow of the composer’s son Pietro. This archive serves as a place to find
primary sources for future research.
8
Method
Examining published editions of Castelnuovo-Tedesco’s guitar music helps outline
commonly accepted editorial practices. Some editorial solutions are strictly concerned with
technical factors,6 while others work toward clarifying the composer’s intentions.7 Applicable
printed musical works include multiple versions of movements from Escarramán op. 177, a six
movement suite inspired by the literature of Cervantes. One edition,8 with two different editors,
received grudging approval from the composer.9 Another edition10 was published without
explicit approval after the composer’s death. It is also worth mentioning the new edition of
Capriccio Diabolico and Tarantella (Gilardino 2006) edited by Angelo Gilardino (1941-), a
guitarist, composer, and former protégé of Castelnuovo-Tedesco. This work includes original
materials not found in previously published editions, supporting the argument that honoring the
composer’s intentions is as important as accepting technically advantageous editorial decisions.
Having received permission from the estate holder, Ms. Lisbeth Castelnuovo-Tedesco,
primary sources for this study include copies of manuscripts for Escarramán op. 177, housed in
the Library of Congress. In creating my performance edition, this paper also used the
manuscripts for five movements from volume two, part one, of Appunti: Prelude e Studi per
Chitarra. The published version of this volume, edited by Castelnuovo-Tedesco’s collaborator
Ruggero Chiesa, contains a few movements that are fingered, but are otherwise unaltered by the
editor. To become playable, the other originals require larger changes to which the editor decided
6 Mario Castelnuovo-Tedesco, Capriccio Diabolico and Tarantella (Milan: Ricordi, 2006), ix. 7 Dario Leendert Van Gammeren, “The Guitar Works of Mario Castelnuovo-Tedesco: Editorial Principles, Comparative Source Studies and Critical Editions of Selected Works” (Ph.D. dissertation, University of Manchester, 2008), 126. 8 Mario Castelnuovo-Tedesco, Escarramán: A Suite of Spanish Dances from the XVI Century (After Cervantes) op. 177 for guitar (Milan: Ricordi, 1956-1959). 9 Otero, Mario Castelnuovo-Tedesco, 109. 10 Mario Castelnuovo-Tedesco, Escarramán: A Suite of Spanish Dances from the XVI Century (After Cervantes) op. 177 for guitar, (Ancona: Bèrben, 1978).
9
to leave “the responsibility of the changes in the other pieces to the performers.”11 After gleaning
editorial concepts from Escarramán, I developed selections from the Appunti manuscripts into a
playable edition. I sought to find a balance between the composer’s intentions and editorial
methods found in extant published editions. I also emphasized the composer’s stated goal of
creating pieces for young guitarists. The result is an edition that brings formerly unidiomatic
music to a level of playability, expanding guitar repertoire and inviting scholars and performers
to examine other portions of this work with a critical eye.
11 Mario Castelnuovo-Tedesco, Appunti, (Milan: Edizione Suvini Zerboni, 1968)
10
Escarramán op. 177
One of the most notable contributors in collaborating with non-guitarist composers was
the Spanish guitarist Andrés Segovia (1893-1987), who commissioned many non-guitarist
composers to write for the instrument.12 After completing Escarramán, op.177, Castelnuovo-
Tedesco sent the multi-movement work to Segovia, who replied with encouraging
correspondence to the composer: “I like it very much and I have already begun to work on
it…The Gallarda is nearly finished, tomorrow I will begin the Canario.”13 For unclear reasons,
Segovia did not follow through with his promise to edit the other movements of the work, which
were to be published together. Expressing his frustration, Castelnuovo-Tedesco responded to
Segovia:
When I wrote Escarramán for you, at Ricordi’s request, you promised me that you would do the fingering, and it was not until 1957, when you came to Los Angeles, that you did the fingering for the first movement, the Gagliarda, in half a day, promising me that when you returned to New York you would send the other movements to Ricordi: you never did so. In 1958 you promised to finger them during your stay in Siena: you did not do so.
In your letter last June you assured me that you would include Escarramán in your programmes for that year, since when I was sorry to see that you were again playing the same old little pieces. That is why I recently had to authorize Ricordi, much to my sorrow, to publish the other pieces of Escarramán without your fingering. One cannot keep publishers waiting for years!14
Castelnuovo-Tedesco probably preferred to use Segovia as a collaborator because of his status as
a performer. Segovia’s reasons not to complete the editorial work on Escarramán (for the
publisher Ricordi) become clearer when considering his commitments to the publisher Schott
and Sons. In a letter to the composer Segovia states:
The matter of giving my name to another publishing house: it’s in vogue, all the time. I could sign “Ansetonius,” which is made up of the first syllables of my three names Andrés Segovia Torres- plus a Latin declension. It would be at the same time a sign of
12 Angelo Gilardino, “The Manuscripts of the Andrés Segovia Archive,” Guitar Review 125 (2002): 2. 13 Letter 14 July 1955 from Segovia to Castelnuovo-Tedesco, cited ibid., 97. 14 Letter 3 May 1959 from Castelnuovo-Tedesco to Segovia, cited ibid., 108-9.
11
respect for Schott and of affection for you, since my name won’t appear openly on the publication.15
Even with his proposed pseudonym, Segovia never finished the edition. In completing the
editorial work on Escarramán, Castelnuovo-Tedesco recruited the accomplished German
guitarist, Siegfried Behrend (1933-1990), whom the composer referred to as “my blond guitarist
Siegfried.”16 As a result of these events we are able to compare four versions of movements from
Escarramán: 1. The manuscript; 2. The Segovia edition of the first movement, published by
Ricordi;. 3. The Behrend edition of movements two through six, published by Ricordi; 4. The
Gilardino edition of all six movements, published by Bèrben, after Castelnuovo-Tedesco’s death.
Having received permission for copies and use of the manuscripts for Escarramán, these
papers served as the most reliable source. The 1978 Bèrben edition served as affirmation of the
manuscripts. In regard to the content of this edition, the editor (Gilardino) writes:
The present edition, as was also done for Caprichos de Goya, comprises under the same cover the six pieces in their original version; where the performance is impossible, excessively difficult or instrumentally unfavourable, I have shown above the staff my alternative solution; the matter being one of taste, the performer is of course free to either adopt it or to find other solutions inherent in the score.17
The four editions were examined, comparing them in regard to fidelity to the original and the
effort of the editor to create an idiomatic version.
An important issue facing an editor when working with the music of a non-guitarist
composer is that of maintaining consistent texture. In the following example, Gilardino suggests
removing one voice (first the d2 in mm. 30, then the a1 in mm. 31) from the original. The effect is
a consistent three-voice structure that keeps moving lines intact.
15 Letter 17 August 1956 from Segovia to Castelnuovo-Tedesco, cited ibid., 100 . 16 Otero, Mario Castelnuovo-Tedesco, 94. 17 Mario Castelnuovo-Tedesco, Escarramán (Ancona: Bèrben, 1978), i.
12
Ex. 2. Escarramán mvt. 1 (Gallarda) mm. 30-31, bottom staff is original, top staff ossia is Gilardino’s suggested solution In the same passage, Segovia provides a different solution. Perhaps, because it is the least
important tone (the fifth), the a1 is removed from all harmonies. However, the problem of
consistency remains. Segovia thins the texture to two voices when it provides technical relief.
Ex. 3. Escarramán mvt. 1 (Gallarda) mm. 30-31, Segovia’s suggested solution
Another similar instance is seen in the following example. Gilardino’s suggestions pertain only
to fingering. All of the composer’s original marks remain intact.
13
Ex. 4. Escarramán mvt. 1 (Gallarda) mm. 34-35, Gilardino’s editorial suggestions
In Segovia’s edition, one important change was made. The technical benefit of the following
example is significant. However, in creating technical ease, the leading tone c#1 is deleted from
the dominant chord in the third beat of mm. 34, weakening the structural cadence that leads to a
passage in the parallel major key.
Ex. 5. Escarramán mvt. 1 (Gallarda) mm. 34-35, Segovia’s editorial suggestions
There are many other examples of sanctioned changes made by Segovia. His collaborative
efforts played an important role in encouraging and promoting the guitar compositions of
Castelnuovo-Tedesco. Juxtaposed with the opinions of other editors, Segovia was more prone to
compromise the composer’s intentions for an edition that suited his personal tastes.
14
As seen previously, Castelnuovo-Tedesco had an affectionate, somewhat fatherly respect
for Siegfried Behrend. Unlike Andrés Segovia, who was already a cult of personality in the
1950s, Behrend was likely to produce editions that were more considerate of the composer’s
intentions. However, there remain many examples in which Behrend favors technical ease over
compositional faithfulness. For comparison, in the following examples Gilardino provides
fingering for difficult, but possible passages.
Ex. 6. Escarramán mvt. 5 (El Rey Don Alonso el Bueno) mm. 69, Gilardino edition Ex. 7. Escarramán mvt. 5 (El Rey Don Alonso el Bueno) mm. 73, Gilardino edition
In the same passages, Siegfried Behrend finds idiomatic solutions that diminish technical
difficulties. These solutions come at the cost of gestural accuracy. However, Behrend is different
than Segovia in that he considers the problem of consistency with more care.
15
Ex. 8. Escarramán mvt. 5 (El Rey Don Alonso el Bueno) mm. 69, Behrend edition Ex. 9. Escarramán mvt. 5 (El Rey Don Alonso el Bueno) mm. 73, Behrend edition
The examples of editorial processes exhibited by Gilardino, Segovia, Behrend, and Van
Gammeren all share the goal of connecting the non-guitarist composer, his or her music, and the
performer. Each editor has different attitudes toward the balance between the composer’s
intentions and technical concerns. The primary difference between the previously mentioned
editors and Van Gammeren is that the latter only includes solutions explicitly sanctioned by the
composer. Van Gammeren represents one end of an editorial spectrum while the other editors
fall at various points farther away from a “pure” edition. In creating my edition of Appunti, I
used Van Gammeren’s precedent in engraving the purest possible version of the manuscript. In
solving performance solutions, I evoked the precedents of the other editors, being careful to
make a clear distinction between the composer’s conception and my subjective suggestions.
16
Appunti, op .210
Appunti: Prelude e Studi per Chitarra, op.210 is a collection of works that cover specific
technical or musical ideas. Dedicating the collection to young guitarists,18 the composer intended
to complete four volumes. At the time of his death only two of the books were complete. The
published edition, edited by Ruggero Chiesa, also includes a few sketches for books three and
four. The first book underwent the collaborative process between Chiesa and the composer. The
remaining portions, with the exception of some fingering, were published unedited.
With the kind permission of Ms. Lisbeth Castelnuovo-Tedesco, I used a photocopy of the
original manuscript as the primary source for the included performance edition. My engraving
represents an attempt to include all intentional marks from the composer. In a few cases, the
manuscript displays a conspicuous absence of articulations that would otherwise seem to fit into
an established pattern. I left these out assuming that the composer mistakenly overlooked these
small details while writing at his famously brisk pace, and that the performer will most likely
follow such a pattern instinctually. The published edition of Appunti acts as a secondary source,
offering a guide for the interpretation of unclear or ambiguous marks in the manuscript. The
published edition presents a very accurate engraving of the manuscript with the exception of
excluding phrase marks. I reinstated these marks in my edition.
The performance edition takes the form of a stylized baroque dance suite. The grouping
of these dances as a suite is my suggestion. The movements, taken from book two of Appunti,
op.210 are: Allemanda, Corrente, Gavotta, Siciliana, and Giga. In the original manuscript the
composer marks the movements Allemanda e Corrente and Siciliana e Giga as pairs. In his
thesis on the guitar works of Castelnuovo-Tedesco, Peter Higham suggests that the Govatta was
18 Both the published version and the manuscript carry the dedication “ai giovani chitarristi” in several places.
17
paired with a Minuetto.19 The composer’s manuscript does not support this. The titles of these
movements include only the names of one individual dance, each with a different date of
composition. I further justify including only the Gavotta in this suite by observing that each of
these dances possess an ordinal Roman numeral, suggesting that the pieces may function as
separate entities.20
To draw distinctions between the composer’s original work and my editorial changes, I
established a few simple guidelines. When a single staff is present, the reader may assume that
all marks, excluding fingering, represent the composer’s own hand. When the numerous ossia
measures appear, the reader should assume that one or more important elements have changed.
These elements include the deletion, addition, or transposition of notes, and the removal or
movement of technical slurs. In a few cases it is sufficiently clear to mark suggestions for
technical slurs in the primary staff with dotted lines. The following sections provide examples of
editorial operations within each individual movement.
"Allemanda"
In the manuscript version, the Allemanda and Corrente are marked as a pair. In this
edition I treated them as separate dances, maintaining the order and the attacca indication at the
end of the Allemanda. The manuscript is unplayable in several sections. The problems mostly
concern range and slurring. In the following example I proposed solutions to these problems by
transposing some of the bass notes up an octave. I also changed the technical slurs over the
19 Peter Anthony Higham “Castelnuovo-Tedesco’s Works for Guitar” (Masters thesis, University of Alberta, 1977), 52. 20 To further clarify, the composer marked Allemanda e Corrente at the beginning of the collection, after which he marked the Roman numeral V with the title Allemanda and then on the beginning page of the following dance he marked the Roman numeral VI with title Corrente. The master title Allemanda e Corrente suggests that the composer intended the dances to exist as one entity, but the Roman numerals suggest the dances may exist separately.
18
groups of fast notes to reflect passages that are only possible on adjacent strings, and to increase
technical ease.
Ex. 10. Appunti (Allemanda) mm. 1-2 bottom staff is from the original manuscript, top staff ossia is an editorial solution for difficult or unplayable material
These measures represent a model for the consistent application of similar solutions within the
movement. In rare cases throughout the suite I edited playable passages to better conform to
sections that required changes.
"Corrente"
This movement is the shortest. I left most of the material in tact, only offering fingering
suggestions. It is important to remember the spirit of the dedication of these pieces (to young
guitarists), and to remember the agreement between Castelnuovo-Tedesco and Chiesa that these
pieces should be of “middling difficulty.”21 With these ideas in mind, I offered a few solutions to
the more difficult passages. In the following example the editorial suggestions are to eliminate a
21 Mario Castelnuovo-Tedesco, Appunti, i.
19
single note in the middle voice of mm. 7, and to include some technically motivated slurs
(delineated from the manuscript through the use of dotted lines).
Ex. 11. Appunti (Corrente) mm. 5-7 bottom staff from original manuscript includes editorial slurs (dotted lines), ossia measure eliminates a note in the middle-voice
"Gavotta"
The Gavotta, contains passages in which the performer must stretch the fingers of the left
hand in awkward and difficult ways. At times the composer asks the player to stretch to the
limits of physical capability (approximately five or six frets between the first and fourth fingers).
To make these passages more idiomatic it is necessary to thin the texture and transpose some
notes up or down an octave. To solve this issue I displaced notes in the lower registers to
maintain the integrity of the upper melodic line. The following example adheres to this editorial
preference.
20
Ex. 12. Appunti (Gavotta) mm. 1-2 elimination of left hand stretches through the transposition of bass notes and removal of inner voice
The preceding example removes some notes in the inner voice. One may feel that this
compromises the composer’s intentions too much. In defense of this practice I remind the reader
of the intended level of difficulty for these works. It is also worth noting that a two-voiced
texture predominates much of this music. While additional voices always serve valid purposes,
the exclusion of those notes can lend to the consistency of the edited product.
"Siciliana"
Of the five dances in this suite, the Siciliana required the most editing to create a
performable edition. In some cases the composer presents two notes that are impossible to play
on one guitar simultaneously. When faced with a choice of excluding one or more notes, I
always attempt to include the pitches that serve the most important role. In most cases I place
greatest emphasis on retaining melodic elements. In one section marked Un poco più mosso the
player must maintain a fluttering accompaniment figure while sustaining melodic notes. The
example below provides an instance in which the transposition of a few notes provides the player
with a more feasible option.
21
Ex. 13. Appunti (Siciliana) mm. 15-16 accompaniment note transpositions eliminate stretches and enable sustained melodic lines
The Siciliana also contains passages in which technical concerns quickly dissipate with
the inclusion of a few carefully placed harmonics. In this case replacing a few notes with
harmonics eliminates the possibility of needing to make a rapid shift in position. This also
relieves the player from crowding the left hand fingers in the closely spaced frets of the guitar’s
upper positions.
Ex. 14. Appunti (Siciliana) mm. 15-16 harmonics eliminate the need for shifts or left hand crowding
22
In one instance I chose to transpose a majority of the material from two measures. The
passage is a continuation of the music from the previous example. In this case the composer
combines a sweeping arpeggio in the upper register with a melodic fragment in the middle voice,
and a slowly changing bass line embedded in the harmony of each downbeat. The music is
unplayable as written. The following examples outline two possible solutions for performance.
The first solution maintains the accompanying arpeggio in the highest possible register,
compromising the duration of the bass line. The second solution transposes the arpeggio down an
octave, enabling the player to connect the bass line more convincingly.
Ex. 15. Appunti (Siciliana) mm. 45-46 shortened duration of bass notes within the downbeat harmonies
While this solution only alters the duration and color of original elements included by the
composer, one could argue that the effect of the passage is diminished. The bass line plays an
important melodic and harmonic function. The following example displays the editorial solution
included in the finished edition.
23
Ex. 16. Appunti (Siciliana) mm. 45-47 arpeggios transposed down an octave to allow bass voice to sound for full duration
In this example a major alteration (transposing the arpeggio) allows the performer to more
accurately realize the composer’s intentions. It is important to hear the lowest voice move down
from the d1 through the c1 ending on the b. Retaining the arpeggio in the upper register makes it
much more difficult to achieve the same effect.
"Giga"
The Giga is in some ways the most technically challenging movement in the suite. The
composer asks for a fast pace and the player must shift positions and play awkward chord shapes
in quick succession. In keeping with the editorial suggestions found in the previous movements, I
frequently opt to eliminate notes from the lower register that serve to thicken the texture but do
not add definition to the harmony. In the following example I altered several chords by
eliminating the fifth within the harmony. This alteration serves two purposes. The primary
purpose is to lower the level of technical difficulty. The secondary purpose is to remove the
potentially muddy sounding intervals in the lower register, clarifying the texture.
24
Ex. 17. Appunti (Giga) mm. 9-11 ossia measures remove the fifth in several harmonies
As in the previous example, the finale of the suite poses significant technical challenges.
Following earlier examples, I chose to thin the texture and call attention to the most important
voices.
Ex. 18. mm. 115-116 thinned texture increases technical ease
Ending with a technical flourish, the suite comes to a close. This edition offers both expedient
solutions to technical problems and the opportunity to consult the composer’s original text.
25
Conclusion
There are many possible solutions to technical and musical problems in the guitar music
of Mario Castelnuovo-Tedesco. In this study, I attempted to balance the historically and
artistically faithful methods of Van Gammerren with the technically minded editions of Segovia,
Behrend and Gilardino. In distilling the ideas of the aforementioned editors, I presented many
examples from relevant editions to inform the creation of a playable version of movements from
volume two of Appunti op. 210. It is my sincere hope that this edition provides both a practical
and approachable version of a long dormant work, and that more players and editors take an
interest in performing similar operations with the remaining sections.
26
References
Asbury, David S.. “20th century romantic serialism: The Opus 170 "Greeting Cards" of Mario
Castelnuovo-Tedesco.” D.M.A. diss., The University of Texas at Austin, 2005. Boyd, Michael A. “The works for guitar and orchestra of Federico Moreno-Torroba and
performing edition of "Romancillos" for guitar and orchestra.” D.M.A. diss., The University of Southern Mississippi, 2005.
Castelnuovo-Tedesco, Mario. “Escarramán: A Suite of Spanish Dances from the 16th Century,”
Edited by Angelo Gilardino, Ancona: Berben, 1978. . “Escarramán: A Suite of Spanish Dances from the 16th Century,”
v. 1. Edited by Ansetonius, Milan: Ricordi, 1958. . “Escarramán: A Suite of Spanish Dances from the 16th Century,”
v. 2-6 Edited by Siegfried Behrend, Milan: Ricordi, 1959. . “Capriccio Diabolico, Tarantella,” Edited by Angelo Gilardino
and Luigi Biscaldi, Milan: Ricordi, 2006. Ferguson, James E., “Darius Milhaud's ‘Segoviana’: History, style & implications. Toward a
performance edition.” M.F.A. diss., Mills College, 1990. Higham, Peter. “Castelnuovo-Tedesco's works for guitar.” M.Mus. diss., University of Alberta,
1977. Hinsley, Matthew Gerritt. “Text-music relationships in Mario Castelnuovo-Tedesco's
‘Vogelweide’”. D.M.A. diss., The University of Texas at Austin, 2003. Ingwerson, John Clyde. “Manuel Ponce's ‘Variations sur Folia de Espana et Fugue’: A study of
compositional procedures and Ponce's use of the folia theme.” D.M.A. diss., The University of Arizona, 1996.
Otero, Corazon. Mario Castelnuovo-Tedesco: His Life and Works for the Guitar, Newcastle upon Tyne: Ashley Mark Publishing Company, 1999. . Manuel Ponce and the Guitar, Westport, CT: The Bold Strummer Limited,
1994. Robles, Eric. “An analysis of Mario Castelnuovo-Tedesco's "Vogelweide": Song cycle for
baritone and guitar.” D.M. diss., The Florida State University, 2004. Segal, Peter E. “The role of Andres Segovia in re-shaping the repertoire of the classical
guitar.” D.M.A. diss., Temple University, 1994.
27
Segovia, Andrés. An Autobiography of the years 1893-1920, New York: Macmillan Publishing Co., 1976.
Van Gamerren, Dario Leendert. “The Guitar Works of Mario Castelnuovo-Tedesco: Editorial
Principles, Comparative Source Studies and Critical Editions of Selected Works” Ph.D. dissertation, University of Manchester, 2008.
Wade, Graham. Segovia, London: Allison & Busby Limited, 1983. Westby, James. "Mario Castelnuovo-Tedesco” Grove Music Online. Oxford Music Online. 8
March, 2012.
28
PART II
THE PERFORMANCE EDITION OF “SUITE OF BAROQUE DANCES” FROM APPUNTI
OP.210 BY MARIO CASTELNUOVO-TEDESCO
&
&
bb
bb
44
44
ossia
Manuscript
œ3
œ1
œ3 œ4 œ
3œ œ
4œ2
œ1
œ2
œ#1
œ œ œ
2
œ
1
œ
4
œ
1
œ
.
0
œ
.
0œ
.
œ
.
œ
.
œ
.
1 œ
.
œ
.
œ œ œ œ œ œ œ œ œ œ œ# œ œ œ œ œ œ
œ
.
œ
.
œ
.
œ
.
œ
.
œ
.
œ
.
œ
.
dolce e contemplativo
uguale e staccato
p
dolce e contemplativo
uguale e staccato
p
œ3
œ#1
œ3 œ4 œ
3œ œn œ œ œ œ œ œ œ œ œ œ
œ
.
2 œ
.
0 œ
.
œ
.
œ
.
œ
.
œ
.
œ
.
œ œ# œ œ œ œ œn œ œ œ œ œ œ œ œ œ œœ
.
œ
.
œ
.
œ
.
œ
.
œ
.
œ
.
œ
.
&
&
bb
bb
ossia
ms.
3
œœ#
.
13
œœ
.
23
œœ
.
13
œœ
.
11
œœ
.
12
œœ
.
12 œ
œ
.
11 œ
œ
.
23
œ4
œ2
œ0 œ
1œ0
œ œ0 œ
3œ
0œ3
œ0
œ
3
œœ#
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œ œ œ œ œ œ œ œ œ œ œ œ
p
un poco marcato
p
un poco marcato
ami
p i p
am
i5
œœ
.
23
œœ
.
12
œœ
#
.
4
3
œœ
.
14
œœ
.
œœ
.
œœ
.
œœ
.
34
œ0 œ
1œ
0
œ
4œ0
œ ˙
œœ
.
œœ
.
œœ
#
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œ œ œ œ œ œ ˙
F
F
5
&
&
bb
bb
ossia
ms.
5
œ3
œ1
œ3
œ4
œ3
œ œ œ3 œ4 œ3 œ1
œ4
œ2
œ œ œ1
œ0
œ
.
2œ
.
œ
.
0œ
.
2 œ
.
1œ
.
3 ‰
J
œ
.
1
5
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ
.
œ
.
œ
.
œ
.
œ
.
œ
.
‰
J
œ
.
p espress.
p espress.
œ
.
0 œ
.
4œ
.
2 œœ
.
12
œ
.
œœ
.
11
œœ
.
12
œ
.
œ
1œ
0œ
1œ
3œ
1œ œ0 œ
1œ3 œ1 œ œ1 œ4 œ0 œ3 œ
1 œ3
œ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
p espress.
p espress.
&
&
bb
bb
ossia
ms.
7
œ2
œ0
œ2 œ3 œ
2œ
œ4 œ1 œ1œ œ œ œ œ œ
œ œœ
œ
.
œ
.
1œ
.
1œ
.
1œ
.
œ
.
œ
.
œ
.
7
œ œ œ œ œ œœ œ
œœ œ œ œ œ œ
œ œœ
œ
.
œ
.
œ
.
œ
.
œ
.
œ
.
œ
.
œ
.
p
p
œ#
2œn0
œ4 œ1 œœ œ
œ œœ œ œ œ œ œ œa
œ
.
œ
.
Œ Ó
29
Allemanda (in 4/4) Moderato e sostenuto Mario Castelnuovo-Tedescoarr. Chris Lee
&
&
bb
bb
ossia
ms.
9
œ3
0
œ1
œ3
œ4
œ3
1œ
œ4 œ2œ1 œ œ œ œ œ œ
œ œœ
œœ
œ1
œ1
œœ
œ
œ
9
œ œ œ œ œ œœ œ
œœ œ œ œ œ œ
œ œœ
œœ
œ
œ
œœ
œ
œ
P
P
œ#3 œ1 œ
4 œ1 œ4 œ1 œ
2 œ1 œ4 œ2 œ
1œ4
œ2
œ1
œ3
œ2
œœ2
Œ Ó
œ#œ œ
œ œœ œ
œ œœ œ œ œ œ œ œ
œœ
Œ Ó
2 1
4
&
&
bb
bb
ossia
ms.
11 œ œ œ œ œ4
œ œ3
œ4
œ3
œ1
œ#1
œ1
œ4
œ1
œ1
œ4
œ2
œœ
00
œœ
21 œ
œœœ œ
œ00
œ
œ
3
0
œ
œ œœ
11 œ œ œ œ œ œ œ œ œ œ œ# œ œ œ œ œ œ
œœ
œ
œ
œ
œ œœ
œœ
œ
œ
œ
œ œœ
œ3
œ#2
œ3 œb4 œ
3œ œn
1œ4 œ3 œ
1œA œ œ œ œ œ œ
œ1
œ0 œ
œn
2
œ
3
œŒ
œ œ# œ œb œ œ œn œ œ œ œA œ œ œ œ œ œœ
œ
œœ
œœ œ
œn
œœ
œŒ
p
p
&
&
bb
bb
ossia
ms.
13
œ
.
1œœ
A
.
23
j
œœ
.
‰œœ
.
34
œœ
.
12
j
œœ
.
14
‰
œ#4 œn
2œ
4
œ
0œ
1œ
œ œœ4
œn
2œ
1œ
2
œ
0œ
1œ
œ3 œœ
13
œœ
.
œœ
A
.j
œœ
.
‰œœ
.
œœ
.j
œœ
.
‰
œ# œn œ œ œ œœ œ
œœn œ œ œ œ œ
œ œœ
p P
p P
œœ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ
un poco a piacere
&b
b
ms.
15
œ œ œ œ œ œ œ œ œ œ œ œ œ œœ
œn0
œ2
œ0
œ1
œ0
œ2
œ0
œ2 œ4 œ
2œ0
œ#4
œ0
œ2
œ0
œ
0œ
4œ1
œ3
œ4 œ1
œ2 œ4
œ3 œ
œ œ
œn
1
œ
0J
œ‰
œn œ œ œ œ œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ œ œ œ
œ œ
œ œ
œn œJ
œ‰
p
a tempo
(più leggero)
p (più leggero) m i a m i a m i
Allemanda
30
&
&
bb
bb
ossia
ms.
17œ2
1
œ1
œ2 œ4 œ œ
3œ1 œ
3œ4
œ œ2
œ4
œ2 œ4 œ
2œ
3œ œ
1œ2 œ
4œ1 œ2 œ4
œ œ
œ œ
œ1 œ
R
œ
‰
17œ œ œ œ œ 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
œ
‰
P
P
&
&
bb
bb
ossia
ms.
18œ3
œ1
œ3 œ4 œ
3œ
œ4
œ2
œ1
œ3
œ
1œ3
œ4
œ œ œ œ œ œœ œ œ œ œ œ3 œ4
œ
œ#1
2 œ
œ
œ
1
2 œ
œ
œ œ
œ
œ
œn
1
18œ 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
œ œ
œ
œ
œn
F più espress.
F più espress.
&
&
bb
bb
ossia
ms.
19œ4
œ2
œ4 œ1 œ
4œ2
œ1
œ2
œ4
œ2
œ3
œ1
œ3
œ4
œ3
œ œ
1
œ
3
œ
2
œ
0
œ#
3
œ
0
œ
1
œ1 œ
1œ0
œ1 œ0 œ1
J
œ0 ‰
19œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ# œ œœœ
œ œ œ œ
œ
J
œ ‰
P
P
&
&
bb
bb
ossia
ms.
20
œ#2 œ œ
œ œ4 œ4
j
œ1 ‰
œ3
œ1
œ3
œ4
œ3
œ3 œ1œ3
œ0 œ3 œ1 œ0 œ1œ3 œ1 œ
œ1 œ3 œ0 œ1
œ3œ0
œ1
20
œ# œ œ
œ œ œ
œ
œ
j
œ‰
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ
p ma sentito
p ma sentito
Allemanda
31
&
&
bb
bb
ossia
ms.
21œœ14
œ1œœ
23
œ
œœ
111
œ3
j
œ4 ‰
œ3 œ1œ3 œ0 œ1 œ
1 œ4œ
1œ3 œ
1œ œ
4œ
1œ
3œ
1œ
œ0 œ2œ
4œ1
œ3
œ4œ
1
21œœ
œœœ
œ
œœ
œ
j
œ ‰
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ
P
P
5
i p4 5
&
&
bb
bb
ossia
ms.
22 œœb
12
1
œ4j
œœ
12 ‰ œœ
12
œj
œœ
‰œb œ4 œ1 œ3 œ1 œ
1
œ4 œ1œ3
œ4œ1 œb
2œ4
œb œ œ œ œ œ
œ œ œ œ œ œb œ
22 œœb
œ
j
œœ
‰ œœ
œj
œœ
‰œb œ œ œ œ œ
œ œ œ œ œ œb œ œb œ œ œ œ œ
œ œ œ œ œ œb œ
F
F
&
&
bb
bb
ossia
ms.
23 œœb
œœœ
œœœ
n œj
œœ
#‰
œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œn œ# œ
0
œ
2
œ
3
œ
1
23 œœb
œœœ
œœœ
n œj
œœ
#‰
œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œn œ# œ œ œ œ
tornando al
tornando al
&
&
bb
bb
ossia
ms.
24
œ œ œ œ œ œ œ œ œ œ œ# œ œ œ œn œ œœ
.
3
2œ
.
œ
.
œ
.
œ
.
œ
.
œ
.
œ
.
24
œ œ œ œ œ œ œ œ œ œ œ# œ œ œ œn œ œœ
.
œ
.
œ
.
œ
.
œ
.
œ
.
œ
.
œ
.
p
Tempo 1p
Allemanda
32
&
&
bb
bb
ossia
ms.
25œ3
œ#2
œ3
œb4
œ3
œ œn1
œ4 œ3 œ1
œA œ œ œ œ œn œ
œ1
.
œ0
.
œ
.
œn
2.
œ
3.
œ
.
J
œ
.
‰
25œ œ# œ œb œ œ œn œ œ œ œ œ œ œ œ œn œ
œ
.
œœ
.
œœ
.
œn
.
œ
.
œ
.
J
œ
.
‰
P
P
œœ#
.
13
œœ
.
23
œœ
.
13
œœ
.
11
œœ
.
12
œœ
.
12 œ
œ
.
11 œ
œ
.
23
œ4
œ2
œ0 œ
1œ
0œ œ
0 œ3
œ
0œ3
œ0
œ
œœ#
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
N
.
œ œ œ œ œ œ œ œ œ œ œ œ
p
p
ami
p i p
am
i5
&
&
bb
bb
ossia
ms.
27œœ
.
œœ
.
œœ
#
.
œœ
.
œœ#
.
œœ
.
œœ
.
œœ
.
œ œ œ œ œ œ ˙
27œœ
.
œœ
.
œœ
#
.
œœ
.
œœ#
.
œœ
.
œœ
.
œœ
.
œ œ œ œ œ œ ˙
F
F
œ
.
1 œ
.
3œœ
.
43
œœ
.
13
œœ
.
34
œœ
.
œœ
.
14
œ
.
œ2
œ1
œ2
œ
4œ1
œ œ
œ2 œ œ œ0 œ3 œ0
œ1
œœN
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œ œ œ œ œ œ œ
œ œ œ œ œ œ œ
F più espress.
F più espress.
&
&
bb
bb
ossia
ms.
29
œœ
.
œœ
.
12
œœ
.
œœ
.
œœ
.
11
œœ
.
12 œ
œ
.
14 œ
œ
.
21
œ2
œ1
œ
2
œ
0œ3
œ œ1
œ3 œ3 œ1 œ3 œ1 œ1 œ4
29
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œ œ œ œ œ œ œœ œ œ œ œ œ
œ
P
P
œ#
-
4œœ
-
œœ
-
24
œœ
-
œ0 œ3
œ0
œ
1œ œ
œ œœ
œ0
œ3
œ0
œ
1œ œ
œ œœ
œœ
#
-
œœ
-
œœ
-
œœ
-
œ œ œ œ œ œœ œ
œœ œ œ œ œ œ
œ œœ
p
p
m
i
p i p
&b
bn
n#
ms.
31
œœ
Œ Ó
œœ œ
œ œœ œ
œ œœ œ œ œ œ œ œ
un poco a piacereŒ
œœ
-˙˙˙
-U
œ œ œ œ œ
--
œ
-
˙
p
attaca
~~
~~
~~
~~
~~
Allemanda
33
&
#
43
Manuscriptœ œ œ
p dolce
œœ
œœ œ œ
œ
œ34
œ1
œ4 œ0 œ1 œ
4
œ
œ00
œ1 œ
2 œ1 œ4
œ2
œ œ1
VII
œ
œ
-
41
‰œ#3
œ4
œn2
œ0
œ1
F
&
#
ms.
5 œ2
œ4
œ2
œ1
œ4
œ
2
œ
P
œ
1œ2
œ1
œ
0
œ
1
œ
4
œ
œ
2œ
1œ1 œ
4œ4
œ2
œœ3
œ0
œœ
œœ œ
œ
œœ œ
œ
œ4 ‰
œ œ œ
œœ00
œ3
p
&
#
ms.
9
œœ
œœ œ œ
œœ Œ
œœ
œœ œ œ
œœ
Œ
œœ
œœ œ
4œ2
œœ
Œ
1 2
œ
œ
4
1‰
œ#3
œ4
œn2
œ1œ
œ1
œ
œ‰
œ# œ œn
œœ œ
F
F
&
#
ms.
13 œ œ œ œ œ œ
œ
œŒ
œ œ œ œ œ œœ
œ Œ
œ
0
œ
2œ
2œ1
œ3
œ
1
œœ œ
œœ
œœ œ
œ
œ
œ
œœœ
œ ‰
œœ
J
œ
œ0
œ1
œ3
P espress.
&
#
ms.
17œœ
14
Œœœœ
2œ
3 œ2
œ1 œ
0 œ2
œœ
01 œ4
J
œ2
œ œ œœœ
Œ
œœœ œ œ œœ#
œ
œœœ
J
œœ œ œ
34
Corrente (in 3/4) Mosso e scorrevole ma non troppo Mario Castelnuovo-Tedescoarr. Chris Lee
&
#
ms.
21
œœœ œ œ
œ
J
œ‰
cresc.
œœ#œ œ œ
œ
J
œ#‰
œœ
-
12 œ
œ
-
21
œœ
#
-
20
œ0œ
1œ#
3
œ œ1
œ1
F
Hinge II
œœ
n
-2
1
‰ œ œ œ
œ4
J
œ3
&
#
ms.
25
œ œ œ œ œœ#
œœ
Œœ#
œ
-j
œœ œ œ
œœ
P
œ œ œ œœ
œ#œ
œ Œ œ
œ
-
j
œœ œ œ
œœ
p
&
#
ms.
29
œ œ œœ
j
œ
‰
œ
-
cresc.
œ œ œœ
j
œ
‰
œ
-
œ#
-
œœ
-
œœ
-
œœ
#
-
œ œ œ# œ œ œœœ
n
-
œ
- J
œ œ œ œ
p
&
#
ms.
33
œœ
œœ œ œ
œœ
œ
œœ
œœ œ œ
œœ
œ
œœ
œœ œ
œ#œ
œœ œ
œ
œ
-
‰œ# œ œn
œœ
œ
œ
œ
-
‰œ# œ œn
œœ œ
œ
F
F
&
#
ms.
37 œ œ œ œ œ œ
œœ
œ
œ œ œ œ œ œ
œœ
œœ
œœ
œ œœ
œœ
œœ
œœb
121
œœ
œb
‰
œœb
œœ
œb
‰
p subito
p subito
œœœ œ4 œ3
œœœ œ œ
Pespress.
P espress.
&
#
ms.
41œœb
œœ
œœ
œb1
œ
3œ
1œb
4œ
3 œb4
œœ
n
11
œœ
œœœb
3J
œb
1
œ œ œœœ
b
13
œœ
œœ
n
10
œ2
œb
4œ
2œn
4 œ0œ3
œœ
10
œœ
œœœn
4 J
œb
2
œ œ œ
Corrente
35
&
#
ms.
45
œœ
b
13
œœ
œœ
œ2œb4 œ2 œb4
J
œ1 J
œ4œœ
n
00
œœ
œœ
œ0œb1 œ0 œ2 œ3 œ0
œœ
40 œ
œn
10
œœ
12
œ2œ3
œ0œb2
œn1
œ3
œœ
b œœ
œœ
œ
J
œœ1 œ0 œ
P
5
&
&
#
#
ossia
ms.
49
œœb
14
œœ œ
œ3 œ0 œ2œn
3œ0
œ
2
49
œœb œœ œœ
œ œ œ œn œ œœœ
12
œœ
œœœ
-4
J
œn3 œ3 œ0 œ2
œœb œœ œ1
œn œ œ œb œ1
œ4
œœb œœ œœ
œn œ œ œb œ œ
œn1
œœ
14
œœ
-
1J
œb3œ4
œ1 œ3
œœ
n œœ
œœœ
-J
œbœ œ œ
F espress.
F espress.
&
&
#
#
ossia
ms.
53œœ
a
-
12
Œ œœb
-12
œ1 œ
3J
œ0
œ1 œ3 œb1
53œœ
a
-
Œ œœb
-
œœ
J
œ
œ œ œb
œœ
#
-
Œ œœb
-
œœ
J
œ
œ œ œb
œœ
#
-
Œ œœb
-
œœ
J
œ
œ œ œbœœ
#Œ Œ
œœ
œ œ œ œ œ œJ
œœn œ œ
Π.
&
#
ms.
57
œœ
œœ œ œ
œœ
œ
p leggeriss.
Tempo 1
œœ
œœ œ œ
œœ
œ
œ œ œœ
œ œ#œ
œœ
œ‰
œ# œ œn
œœ œ
&
#
ms.
61
œ œ œ œ œ œœœ
œœ œ œ œ œ œœ
œœ
œœ
œœ œ
œ
œœ
œœ
œ
œ
œœ
gggggggg
œŒ
F
Corrente
36
&
&
#
#
44
44
Ossia
Manuscript
œœ œ
œ
Ó
œœ œ
œ
F
œ
-
œ
-
œ
-
œ
-
œœ
œœ
œ
-
œ
-
œ
-
œ
-
œ
œ
œ
œ
œœ
œ
-
œ
-
œ
-
œ
-
œœ
œœ
œ
-
œ
-
œ
-
œ
-
œ
œ
œœ
œœ
œ
-
œ
-
œ
.
œ
.
œ
.
œ
.
œœ
œœ
œ
-
œ
-
œ
.
œ
.
œ
.
œ
.
œ
œœ
œ
œ
œ
&
#
ms.
4˙
œœ œ
œ
œ
œ
œ
Ó
œ
-
2 œ
-
œ
-
4 œ
-
œ1œ0
œ3œ2
œ
-
œ
-
œ
-
œ
-
œœ
œ
œœ
œ4 œ
4œ2
œ3
œ
-
4 œ
-
1
œ
-
0œ
-
1œ
-
3 œ
œ
-
1
1
&
#
ms.
8œœ
11
Œ Ó
œœ2
3œ1
œ4 œ1œ2 œ0
P con spirito
Œ
œœ
.Œ
œœ
.
œ
-
œ
-
œ
-
œ
-
p
Œœœ
.Œ
œ
œ
.
œ
-
œ
-
œ
-
œ
-
Œœœ
.
œœ
.
œœ
.
œ
-
œ œ
.
œ
.
œ
.
œ
.
&
&
#
#
ossia
ms.
12Œ
0
œœb
2
1
œœ œ
œ
˙œ Œ
12Œ
œœœb
œœ œ
œ
˙œ Œ
F
F
œ
-
œ
-
œ
-
œ
-
œœ
œ
œ
œ
-
œ
-
œ
-
4 œ
-
4
œœ
œ0œœ
23
œ3œ
4 œ3œ
2œœ
-
00
œœ
-
13
œ1 œ1 œ0 œ4
&
#
ms.
16
˙
-
˙
œb4
œ1
œb2
œn4
Ó
P più dolce
œb
-2
œ
-
œn
-1
œ
-
œ1
œœ
bb
4
1
œb4
œ
œ
b
b
1
1
˙
-
1 œb4
œ1 œb
4œn
1
œ1
œœ
bb
1
4Ó
37
Gavotta (in 4/4) Spirito e grazioso Mario Castelnuovo-Tedescoarr.Chris Lee
&
&
#
#
ossia
ms.
19œb4 œn
1œ4 œ1
œ4 œ3
3 3
œ2œb
1 œ2
œ1
19œb œn œ œ œ œ
3 3
œ
œœ
bb
œ
œœ
nb
espress.
espress.
˙
-
1œb
4œ
1 œ4
œb3
œbœb
Ó
˙
-
œbœ œ
œb
œb
œ
œbÓ
œb
-
1œ
-
œb
-
3 œ
-
œb
4
œb
1 œA
4
œn
2
œb
-
œ
-
œb
-
œ
-
œb
œ
œbœA
œ
œ
n
n
&
&
#
#
ossia
ms.
22
˙
-
œbœ œ
œb
œbœb
Ó
22
˙
-
œbœ œ
œb
œb
œ
œbÓ
œb1
œb3
œ1
œ3
œ1
œ0
3 3
œb4
œb
1 œA4
œn
2
œb œb œ œ œ œ
3 3
œb
œ
œbœA
œ
œn
espress.
espress.
˙n
- œnœ œb
œ
œn0
œœn
Ó
&
&
#
#
ossia
ms.
25
œb
-
3œ
-
œ
-
1œ
-
˙b
1
œn
3œ
0
œb
1œ
3
25
œb
-
œ
-
œ
-
œ
-
˙bœn
œ œbœ
˙b ˙
p p
˙˙b
-
œn4
œ1
œb2
œ3
œb
-
œ
-
œ
-
1 œ
-
œb
-
1œ
-
œ
-
1œ
-
1
˙˙b
3
4
œb
2œn
4
œ
1œb
2
œb
-
œ
-
œ
-
œ
-
˙˙b
œbœn œ
œb˙b
&
&
#
#
ossia
ms.
28
˙˙˙#
14
2
œœ œ
œ
˙n0
Ӝ0
28
˙˙˙#
œœ œ
œ
˙nÓœ œ
F Tempo 1
F Tempo 1
œ
-
œ
-
œ
-
4 œ
-
œœ
œ0œ
œ1 œ0œ3
œ1
œ
-
œ
-
œ
-
œ
-
œ
œ
œœ
œœ
œœ œ
œ
œ
-
4 œ
-
œ
-
œ
-
œ1œ
0
œ2
œ0
œ
œ
-
œ
œ
-
œ
œ
-
œ
œ
-
œ
œ
œœ
œœ
Gavotta
38
&
&
#
#
ossia
ms.
31 œ
-
4 œ
-
œ
.
4œ
.
2œ
.
1œ
.
4
œ2œ0 Ó
31 œ
œ
-
œ
œ
-
œ
.
œ
.
œ
.
œ
.
œœ Ó
˙
-
4 œœ œ
œ
˙œb2 œ
.1 œ
.3 œ.
0
˙
-œ
œ œœ
˙
˙œb œ
.œ.
œ.
am
2
3
i p i4
œ
-
œ
-
œ
-
œ
-
œœ
œœ
œœ œ
œ
œ
-
œ
-
œ
-
œ
-
œ
œ
œœ
œœ
œœ œ
œ
&
&
#
#
ossia
ms.
34 œ
-
œ
-
œ
-
œ
-
œœ
œœ
34 œ
œ
-
œ
œ
-
œ
œ
-
œ
œ
-
œ
œœ
œ
œœ
œ
œ
-
4
0
œ
-
4œ
-
1œ
-
2œ
-
1œ
-
1
J
œœ0
0‰ Œ Œ œ
œ1œ2
œ1 œ1
œ
œ
-
œ
-
œ
-
œ
-
œ
-
œ
-
J
œœ
‰ Œ Œ œ
œœ
œœ
˙
-
3 Ó
ww2
œ-
œ-
1 ˙-
0
&
#
ms.
37wœ
œœ
bgggggg Œ
œ
œœ
gggggg
œ
œœ
gggggg
P
Musette (Più dolce e tranquillo, in 2)espress. e ben cantato
œ œn œ œb œb œ
3 3
œœ
œ
bggggg 1
14
wœ
œœ
bgggggg
Œ
œ
œœ
gggggg
œ
œœ
gggggg
&
#
ms.
40œ œn œ œb
œœ
33
œœ
œ
bggggg
œœ
œn œbœn
œ
3 3
œœ
œ
bggggg
œœ
œb œb œ œn
3
3
&
&
#
#
ossia
ms.
43
œ
œ#
.Œ
œ
œ
.
œ
œ
.
w
43
œ
œ#
.Œ
œ
œ
.
œ
œ
.
ww
p
F
p
F
œ
œ
b
-Œ Ó
œ œ œ œb œn œ
3 3
œ
œ
b
-Œ Ó
œ œ œ œb œn œ
3 3
espress. e ben cantato
espress. e ben cantato
œ
œ#
.Œ
œ
œ
.
œ
œ
.
w
œ
œ#
.Œ
œ
œ
.
œ
œ
.
ww
œ
œ
b
-Œ Ó
œ œ œ œbœ
œ
3 3
œ
œ
b
-Œ Ó
œ œ œ œbœ
œ
3 3
Gavotta
39
&
&
#
#
ossia
ms.
47
œ
œœ
œœ œ
œ#œ
3 3
47
œ
œœœ
œœ œ
œ#œ
3 3
œœœn
gggggg œ œ œn œ œ œb
33
w
ggggg
œ
œœ
b
Œ
œ
œœ
ggggg
œ
œœ
ggggg
P espress.
&
#
ms.
50œ œn œ œb œb œ
3 3
œœ
œ
bggggg
wœ
œœ
bgggg Œ
œ
œœ
ggggg
œ
œœ
ggggg
œ œn œ œbœb
œ
33
œœ
œ
b
&
#
ms.
53œ
œœn œb
œnœ
3 3
œœ
bb
œ œ œb œn œ œ3
3wn4
œ
œ
œn
ngggggg
1
0
3
Œ
œ
œ
œ
gggggg
œ
œ
œ
gggggg
F più espress.
&
#
ms.
56 œ œ œ œ œ œ
3 3
œœ
œ
#ggggg
wœ
œ
œn
nggggg
Œ
œ
œ
œ
gggggg
œ
œ
œ
gggggg
œ œ œ œN œ# œ
3 3
œœ
œ
#ggggg
&
#
ms.
59 œœ#
œ œœ#
œ
3 3
œ
œ
œ
gggggg
œ œ œ œ œ œ3
3
w4
œœ
œ
ggggg
10
0Œ
œœ
œ
ggggg
œœ
œ
ggggg
w
œœœœ
ggggg
Œ
œœœœ
ggggg
œœœœ
ggggg
F espress.
F espress.
Gavotta
40
&
&
#
#
ossia
ms.
62œ œ œ œ œ œ
3 3
œœ
gg
21
62œ œ œ œ œ œ
3 3
œœœ
ggg
w
œœ
œ
ggggg
Œ
œœ
œ
ggggg
œœ
œ
ggggg
w
œœœœ
ggggg
Œ
œœœœ
ggggg
œœœœ
ggggg
œ œ œ œ œ œ
3 3
œœg
gg
œ œ œ œ œ œ
3 3
œœœ
gggg
&
#
ms.
65œ
œœ œ
œ#œ
3 3
F espress. a piacere
˙œ
œœ œ
œ#œ
3 3P p
˙œ
œœ œ
œ#œ
3 3
˙
U
&
#
ms.œ
œ œœ
Tempo 1 (Tempo di Gavotta)
P espress. (un poco marcato la melodia)
œœ
œœ
œœ
œœ
œ
-
œ
-
œ
-
œ
-
œœ
œœ
œ
œ
œ
œ
œ
-
œ
-
œ
-
œ
-
œœ
œœ
œ
Œ
œ
-
œ
-
œ
.
œ
.
œ
.
œ
.
&
#
ms.
72
œœ
œœb œ
œ œœ
˙
-
œ Œ
P grazioso ed espress.
œ
-
œ
-
œ
-
œ
-
œœ
œœ
œ
œœ
œ
œ
-
œ
-
œ
-
œ
-
œœ
œ
œœ
œ
œ
œ
&
&
#
#
ossia
ms.
75
œœ
œœ œ
-
œ
-
œ œ œœ œ
œ
75
œœ
œœ œ
-
œ
-
œ
œ
œœ œ
œ œœ
˙
-
œ
-
œ
-
œœ œn
œ
˙
-
P
œ
-
œ
-
œ
-
œ
-
œ
œœ
œ
œ
œœ
œ
˙
-
œœ œn
œ
œœ
œ
œÓ
Gavotta
41
&
#
ms.
79
œ
-
œ
-
œ
-
œ
-
œ
œœ
œ
œ
œœ
œ
˙
-œ
œ œœ
œœ
œ
œÓ
F
˙
-
4 œœ œ
œ
˙˙
œ
0œ
1œ
3œ
0
˙
-œ
œ œœ
˙˙
˙œ
œ œœ
23 3i m a
am
&
&
#
#
ossia
ms.
82˙
- œœ œ
œ
˙˙
˙
œœ œ
œ
82˙
- œœ œ
œ
˙˙
˙œ
œ œœ
f
f
œœ œ
œ œ
.
œ
.
œ
.
œ
.
œ
.
œ
.
œ
.
œ#
.
œœ œn
œ
f con spirito
&
&
#
#
ossia
ms.
85œ
-
œ
-
œ
-
œ
-
œœ
œœ
85œ
-
œ
-
œ
-
œ
-
œ
œ
œ
œ
œœ
œ
-
œ
-
œ
-
œ
-
œœ
œœ
œ
-
œ
-
œ
-
œ
-
œ
œœ
œ
œœœ
œ
-
œ
-
œ œ œ œ
œ
œ
œœ
œ
-
œ
-
œ œ œ œ
œ
œœ
œ
œ
œ
˙1 œ
4
3
œ
1œ2
œ
4
˙
˙œ.
4œ.
3 œ.
0 œ.
1
˙œ
œ œœ
˙˙
˙œ.
œ.
œ.
œ.
34
am
i a i
&
#
ms.
89œ
-
œ
œ
-
œ
-
1 œ
-
1
œœ
œb
2
œœ
41
œ
-
1 œ
-
21
1 œ
-
1
1
œ
-
œ
œœ
œ
œœb
œ
-
œ
-
œ
-
œ
-
œ
œœ
œ
œ
œ
b
œœ
œœ œ
-
1œ
-
1
œœœ
ggg
œ
œ œ
œ12 œ
œ11 œ
œœ
œœ œ
-
œ
-
œœ
œ
ggggg
œ
œœ
ggggg
œœ
œœ
œœ
œœ
˙
-
J
œ
œ
œœ
-
ggggggg
4321
‰ Œ
˙˙
œ-
œ
-
S
Gavotta
42
&
#
86
Manuscript
œ3 œ4
p dolce ed espressivo (ben cantato)
.œ
0
œ#
4
œ
0
œ
0
œ
1
.œ
0
œ
4
œœœœ 00
2 J
œœœ
œœœ
000
J
œœœ
5
4
œœ .œ œ# œ
‰ . œ3 œ4œœœ
2J
œœœ
œœ
œ1J
œ
œ2
œœ .œ œ# œ
‰ . œœ
œœœ
J
œœœ
œœ
œ
J
œœ
œ
6
&
#
ms.
3.œ
4œn3 œ1
.œ2 œ4 œ2œ
œœ
1
31
J
œ
œœ
œœœ
131
J
œœœ
.œ
-‰ .
œœ4
œ
œœ
J
œœœ
œœœ
J
œœœ
002
P
più espress.
.œ4 œ1 œ4
.œ4 œ3 œ4
œœœ
132
J
œœœ
œœ
2
1J
œœ
.œœ
œ.œ œ œ
œœœ
J
œœœ
œœœ
J
œœœ
Hinge V
2
&
#
ms.
6 œ
-
4 j
œ
0j
œ
œ0 œ4
œœœ
003
J
œœœ
œœœ
J
œœœ
.œ4 œ1 œ4
.œ œ œ
œœœ
131
J
œœœ
œœ
J
œœ
.œœ
œ.œ œ œ
œœœ
J
œœœ
œœœ
J
œœœ
.œ
-
‰ .œ4 œ1
œœœ
gggg J
œœ
œœ
J
œœ
00
.œ
-
‰ .œ
œ
œ
œœ
gggggg
J
œœ
œœ
J
œœ
F
F
&
#
ms.
9.œ œ œ œ
2
œ
4
.œ
2
œ1 œ2œœ
J
œœ
œœœ
3
00
J
œœœ
œ
2
œ
4
.œ
2
œ
2
œ
2
‰ .œ
œ
œœœ
J
œœœ
œœœ
J
œœœ
.œ1
œ4
œ4
.œ4
œ4
œ3
œ
œœ
431
J
œ
œœ
b201
œœœ13
2J
œœœ
120
.œ œ œ .œ œ œœ
œœ
J
œ
œœ
bœœœ
J
œœœ
43
Siciliana (in 6/8) Andantino dolce e malinconico Mario Castelnuovo-Tedescoarr. Chris Lee
&
#
ms.
12.œ
-
‰ .
œœ
œ
œœ
J
œœ
œœ
p
(Un poco più mosso)espress. e cantabile
.œ
-1 ‰ .
œœ
œ2
œ3
œ0 œ
3
œœ
œœ
.œ
-‰ .
œœ
œœ
œœ
œœ
œœ
p fluido
p fluido
.œ
-1 ‰ .
œœ
œ4
œ2
œ0 œ
3
œœ
œœ
.œ
-‰ .
œœ
œœ
œœ
œœ
œœ
&
&
#
#
ossia
ms.
15.œ
4œ
œ .œ3
œœ4
œ2
œ1
œ0 œ
0
œœ
œœ
15.œ œ
œ .œ œœ
œœ
œœ
œœ
œœ
œ#1
œ4 œ2
œ2
œ3
œ
1j
œ
œœ
œ0œ0
œ0œ
‰
œ#œ œ
œœ
œj
œ
œœ
œœ
œœ
‰
P
P
.œ‰ .
œœ
-
œœ
œœ
œœ
œœ
.œ‰ .
œœ
-
œœ
œœ
œœ
œœ
&
&
#
#
ossia
ms.
18.œ
1‰ .
œœ
œ3œ
2 œ0œ
2
œ3œ
2 œ0œ
2
18.œ
‰ .
œœ
œœ
œ
œ
œœ
œ
œ
.œ œœ .œ
1œ
œ#1
œœ
œœ
2
œ4œ#
1 œ#2 œ1
.œ œœ .œ œ
œ#
œœ
œ
œ
œ#œ
œ#œ
IX
œ#3 œ#
1œ1
œ1
œ1
œ
0j
œ3
œ
0 œ2
œœ0
œ1
F
VII
&
#
ms.
21œ1 j
œ
0œ2 j
œ
4
œ4
œ1
œ3
œ4
œœ
œœ
(sempre p)
œ0 j
œ
0 ‰ .
œ
0 œ4
œ0
œ0
œ3
œ2
œœ
œœ
œ3 j
œ0
œ2 j
œ
1
œ1
œ0
œ2
œ0
œ4
œ3
œ0
œ0
Siciliana
44
&
&
#
#
ossia
ms.
24œ
j
œ
‰ .
œ
œ4
œœ
œœ
œœ
œœ
24œ
j
œ
‰ .
œ
œ
œœ
œœ
œœ
œœ
f
f
œ4 j
œ2
œ1 j
œ0
œ0 œ0œ#3
œ0
œ0 œ0œ3
œ0
œ4 j
œ#1 ‰ .
œ1 œ2
œ1œ
1 œ#3œ
1
œ1œ
1 œ3œ
1
œj
œ#‰ .
œœ
œœ
œ#
œ
œœ
œ
œ
F
F
&
#
ms.
27.œ#
-
.œ#
-
4
œ1 œ2 œ#
3 œ1
2œ0 œ1 œ3
œ1
.œ
-j
œ
‰ ‰
œ
œ#œ
œJ
œ œ4
œn0
Tempo 1
P espress.
‰œœ4
3‰
œœ#
30
.œ2 œ#1 œ2 œ
2
œ#
1
.œ œ œ
p
&
#
ms.
30‰
œœ
43
œ
œ1
4 œ
œ1
1 ‰
œœ# .œ œ# œ ‰ .
œ3 œ
05
‰ œœ
24
‰ œœ
.œ#
3
œn1 œ1 .œ0 œ1 œ0
‰ œœ
‰ œœ
.œ# œn œ.œ œ œ
‰œœ
œ
œœ
œ‰
.œ ‰ .œ1
œ
4
F
6
VII
‰ œœ
12
‰ œœ
24
.œ#3œ1
œ4 .œ3 œ1 œ4
‰ œœ ‰ œ
œ
.
.œœ#
œœ .œ œ œ
&
&
#
#
ossia
ms.
34‰
œœ
11
‰œœ
14
œ3
J
œ1 .œ œœ4
34‰
œœ
‰œœ
œœ
J
œ .œ œœ
‰ œœ1
2‰ œ
œ24
.œ#3œ1
œ4 .œ3 œ1 œ4
‰ œœ ‰ œ
œ
.
.œœ
#œ
œ .œ œ œ
‰œœ
11
‰ . œ4 œ1
œ3
J
œ0 œ
‰œœ
‰ . œœ
œœ
J
œ œ
P dolce
P dolce
Siciliana
45
&
&
#
#
ossia
ms.
37.œ œ# œ œ
œ .œ œ œ
‰ œœ
-
10 ‰ œ
œb
-
01
37.œ œ# œ œ
œ .œ œ œ
‰œœœ
-
‰œœœb
-
ed espress.
ed espress.
œœ .œ œ# œ
‰ . œ4 œ1
‰ œœ
-
‰
œ
œœ
-
gggggg
œœ .œ œ# œ
‰ . œœ
‰œœœ
-
‰
œ
œœ
-
gggggg
.œ4
œ œ .œ œ œ#
‰
œœ
œ
gggggg
20
1
œ
œœ
bgggggg J
œœœ
ggg
&
&
#
#
ossia
ms.
40 œ4 œ1
œ1
œ2
‚3 j
‚3
.
.
.
œ
œœ ‰ .
œ1
œ0
40 œ
œœ
œœ
j
œ...
œ
œœ ‰ .
œœ
P espress.
(Un poco più mosso)
P espress.
(Un poco più mosso)
harm. 12
œœ
œœ
‚j
‚.‚
-‰ .
œœ
œœ
œœ
œj
œ..
œœ
-
‰ .œ
œ
harm. 12
œ4
œ#3
œ1
œ4
œ#
2j
‚3
œœ
.‚
-
œœ#
œ œœ#
j
œ
œœ
.
.
œœ
-
harm. 12
&
#
ms.
43
.œ#
-
1œ
œ1 .œ
-
0œ
œ4
.
.œœ
œ#1œ4 œ2
œ2œ
3
œ1j
œ4.œ
œœ
œ#œ œ
œœ
œj
œ..
œœ
œœ
F
P
F
P
œ1
œ2
œ1
œ3
œ4 j
œ
0...
œœœ
134
œ4œ
œœ
œœ
œj
œ...
œœœ
œœ
&
&
#
#
ossia
ms.
46
œ1 œ3œ1
œ4œ0 j
œ
0
œœ.
.
.
œœœ
142
46
œœ
œœ
œj
œ
œœ.
.
.
œœœ
.œ œœ .œ#
3œ
œ4
.
.
œœ
œ1 œ4 œ
2œ0
œ0
œ0 j
œ1
œ
œ
.
.
.
œœ
œ
ggggggg
œœ œ
œœ
œj
œ
œ
œ
.
.
.
œ
œœ
gggggg
F un poco
F un poco
Siciliana
46
&
#
ms.
49œ4 j
œ0
œ3 j
œ1œ
œ1
œ3
œ2
œ0
œœ1
œ4
œ2
œ
appassionato
œ0 j
œ0
‰ .
œ
œ4
œœ0
œ0
œ0
œ0
œœ
œœ
œ
œ3 j
œ0
œj
œœ
œ1
œ0
œ2
œ0
œ œœ
œœ
&
#
ms.
52œ
j
œ
‰ .
œ
œœ
œœ
œœ
œœ
œœ
œj
œ œj
œœ
œœ
œ
œ
œœ
œœ
œ
œ4 j
œ#
1 ‰ .
œœœ
œ1
œ1
œ#3 œ
œœ
œœ
œ
œj
œ#‰ .
œœœ
œœ
œ#
œ
œœ
œœ
œ
&
#
ms.
55.œ#
-
œœ
œœ#
œ
œ#œ
œœ
œ
.œ
‰ . œœ
œ œœ
œ#œ
J
œ
‰ ‰
tornando al Tempo 1p
.œ œ# œ œœ .œ œ œ
œœœ
J
œœœ
œœœ
J
œœœ
dolce ed espress.
&
#
ms.
58œ
œ .œ œ# œ‰ . œ
œ
œœœ
J
œœœ
œœ
œ
J
œœ
œ
.œ œn œ .œ œ œœ
œœ
J
œ
œœ
œœœ
J
œœœ
.œ
-‰ .
œœ
œœ
œœ
ggggggg
J
œœœ
œœœ
J
œœœ
p espress.
&
#
ms.
61.œ
œœ
.œ œ œ
œœœ
œ j
œ
j
œ
œœ
œœ
œ
ggggggg
J
œœœ
J
œœœ
œ j
œ
j
œ
œœœ
œœ
gggggg
J
œœœ
J
œœœ
più p
più p
.œœ
œ.œ œ œ
.
.
œ
œ
œ j
œ œœ
œœ
gggggg
J
œ
‰ .œ
œ
&
#
ms.
65‰
œœœ
##
-U
.œ‰ . œ
œ
più p
(un poco rit. )
‰
œœ
##
-U‰ .
œœ
.œ
‰
œœœ
##
-U‰ .
œœ
.œ
.œ œn œ .œ œ œ.
.
.
œ
œœ
gggggg
.
.
.
œœœ
gggg
dolce e semplice
.
.
.
˙˙˙
U
.
.
˙˙
ggggggg
attacca
Siciliana
47
&
#
86
Manuscript Π.
œ œœ
f
œ œœ œ œ
œj
œ
‰j
œœœ
000
œœœ
111
j
œœœ
112
.œ .œ
F
œœœ
111
j
œœœ
œœœ
j
œœœ
.œ .œ
&
#
ms.
5œœœ
-‰ œ œ
œ
œ
‰
f
œ œœ œ œ
œj
œ
‰j
œœœ
112
œœœ
111
j
œœœ
111
.œ .œ
F
œœœ
112
j
œœœ
œœœ
j
œœœ
.œ .œ
&
&
#
#
ossia
ms.
9..
œ
œ
-
1
2
œ
.
œ
.
œœ
n
-
‰
œ1
‰ .œ
-
œ
.
œ
.
9..
œ
œ
-
œ
.
œ
.
œœ
n
-
‰
œœ
‰
.
.
œœ
-
œ
.
œ
.
f
f
.
.
œ
œ
-
œ
.
œ
.
œœ
n
-
‰
œ‰ .œ
-
œ
.
œ
.
.
.
œ
œ
-
œ
.
œ
.
œœ
n
-
‰
œœ
‰
.
.
œœ
-
œ
.
œ
.
.
.
œ
œ
-
œ
.
œ
.
.
.
œ
œ
b
-
œ
.
œn
.
œ‰ œb ‰
.
.
œ
œ
-
œ
.
œ
.
.
.
œ
œ
b
-
œ
.
œn
.
œœ
‰œœb
n‰
.
.
œ
œ
-
œ
.
œ
.
.
.
œ
œ
b
-
œ
.
œn
.
œ ‰ œb ‰
.
.
œ
œ
-
œ
.
œ
.
.
.
œ
œ
b
-
œ
.
œn
.
œœ ‰
œœb
n‰
&
&
#
#
ossia
ms.
13..
œ
œ
-
œ
.
œ
.
œœ
n
-
‰
œ‰ .œ
-
œ
.
œ
.
13..
œ
œ
-
œ
.
œ
.
œœ
n
-
‰
œœ
‰
.
.
œœ
-
œ
.
œ
.
.
.
œ
œ
-
œ
.
œ
.
œœ
n
-
‰
œ‰ .œ
-
œ
.
œ
.
.
.
œ
œ
-
œ
.
œ
.
œœ
n
-
‰
œœ
‰
.
.
œœ
-
œ
.
œ
.
.
.
œ
œ
-
œ
.
œ
.
.
.
œ
œ
b
-
œ
.
œn
.
œ‰ œb ‰
.
.
œ
œ
-
œ
.
œ
.
.
.
œ
œ
b
-
œ
.
œn
.
œœ
‰œœb
n‰
.
.
œ
œ
-
œ
.
œ
.
.
.
œ
œn
n4
1
œ ‰
.
.
œ
œ
-
œ
.
œ
.
.
.
œ
œn
n
œœ ‰
œ
œ ‰
S
S
&
&
#
#
ossia
ms.
17œ œ4 œ2 œ1 œb4 œ1
œ0 ‰œ
‰
17œ œ œ œ œb œ
œ
œ ‰
œ
œ ‰
F
F
œ3 œ1 œb4 œ3 œ1 œ3œb1
‰
œ
‰
œ œ œb œ œ œ
œ
œ
b
‰
œ
œ ‰
œb4 œ3 œ1 œn
2
œ1 œ4œ0
‰œ
‰
œb œ œ œn œ œœœ ‰
œœ ‰
œ1
3
‰ j
œn
1.œn
4
œ
‰
œ
‰ j
œn
.œn
œ
œ ‰
œ
œ ‰
S
S
48
Giga (in 6/8) Molto vivace e brillante Mario Castelnuovo-Tedescoarr. Chris Lee
&
&
#
#
ossia
ms.
21œ œ œ œ œb œ
œ‰
œ‰
21œ œ œ œ œb œ
œ
œ ‰
œ
œ ‰
F
F
œ œ œb œ œ œ
œn1 ‰
œ‰
œ œ œb œ œ œ
œœ
nb ‰
œœ ‰
œb œ œ œn œ œœ0
‰œ
‰
œb œ œ œn œ œœ
œb ‰œ
œ ‰
.
.
œ
œ#
-
œ
.
œ
.
œœ
‰
œœ
4
1
10
‰..
œ
œb
-
4301
œ
.
œ
.
.
.
œ
œ#
-
œ
.
œ
.
œœ
‰
œœ
‰..
œ
œb
-
œ
.
œ
.
f
f
&
#
ms.
25 .
.
œ
œ#
-
œ
.
œ
.
œœ
-
‰
œœ
‰..
œ
œb
-
œ
.
œ
.
.
.
œ
œ#
-
œ
.
œ
.
.
.œœ
-
œ
.
œ
.
œœ
‰œ
œb ‰
F
.
.œœ
n
-
1
1œ
.
œ
.
.
.œœb
14
œ
œ23 ‰
œœ
n32 J
œ2
&
#
ms.
28.œ
-
4œ
.
œ
.
.œ
-
1œ
œœn
gggggg
2
31
‰
œœn 23
P grazioso, con spirito(Un poco meno)
œ œ
.
4œ
.
0 œn
.
4 œ
.
1 œ
.
3
œœn
.œb
-
4œ
.
œn
.
3.œ
-
1
œœœ
bn
gggg
111 ‰
œœœ
.œb
-
œ
.
œn
.
.œ
-
œ
œ
œn
bgggggg
‰
œœœn
œ œ
.
1 œ
.
3œb
.
4œ
.
1 œ
.
3
œœœ
bn
&
#
ms.
32œn1 j
œœ
13
œœ12
j
œœ
F (un poco espress.)
œœ
13
j
œœ
œœb
1
2
j
œœ
œœ
b
-
13 ‰ .
.œœn
-
ŒJ
œ œ
J
œ
œœ
b
-
‰ ..œ
œn
-
œœn
J
œ œ
J
œ
P
(un poco espress.)
P (un poco espress.)
œ3 j
œ œb4 j
œ0 .œ
-
œ
.
œ
.
.œ
-
œ
œœn
‰
œœn
P con spirito
&
#
ms.
37
œ œ
.
4 œ
.
0 œn
.
2œ
.
4 œ
.
1
œœn
.
.
.
œœœ
n
-
41
2
œ
.
œ
.
.œ
-
œ
‰
œœœ#
n
4231
.
.
.
œœœ
n
-
œ
.
œ
.
.œ
-
œ
‰
œœœœ
#
n
œœ#
.
œ
.
œ
.
œ
.
œ
.
œœœ#
n
œœ#
.
œ
.
œ
.
œ
.
œ
.
œœœœ
#
n
œn
j
œœ œ
œ
j
œœ
F (un poco espress.)
Giga
49
&
#
ms.
41 œœ
j
œœ
œœ
j
œœ
.œ
-
4.œ
-
1
œ
J
œœ
n2
3
œœ
11
J
œœ
œ
.œ
-
.œ
-
œœ
J
œœ
n œœ
J
œœ
œœ
P(un poco espress.)
P(un poco espress.)
œœ13
J
œœ
œœ
12
j
œœ#
0
1œ
.œ œœ
.œn
-
1
P marcato
&
#
ms.
45œœœg
g
432
œ œ
.
œ
.
œ
.
œ
.
œ
.
p
.œn-
œ. œ
..œ
-
œœœ
ngg
342
œ œ
.
œ
.
œn
.
œ
.
œ
.
j
œœng
g
j
œœg
gœ
-
2
J
œ œ
-
1
J
œ
F
j
œœng
gœ
-
0
J
œ œ
-J
œ
j
œœœ
nggggœ
-J
œ œ
-J
œ
&
#
ms.
50‰ ‰
j
œœ
13
œœ
12
1
j
œœ
.
.
œœ
n
-
11
.œ
-
p grazioso
œœ23
j
œœ
œœn
j
œœ œ
œ
43
.œ
-
1 œ
.
œ
.
1 .œ0
P marcato
œœœ
010
œ œ
.
0 œ
.
2œ
.
3œ
.
0œ
.
3
&
#
ms.
54
.
.
œ
œ
-
20 œ
.
œ
.
3.œ#
-
1
j
œœ
#
11
œœ#
.
3 œ
.
4œ
.
1 œ
.
2œ
.
4
j
œ
j
œœœ
-
2
J
œ
.
20
œ
-
4J
œ
.
014
F
j
œœ
j
œœ
#œ
-
0
J
œ
.
010
œ
-
2
J
œ
.
111
&
#
ms.
58 j
œœœ
‰ ‰ œ œœ
J
œ
œ
f con fuoco
œ œœ œ œ
œ
j
œ
‰j
œœœ
œœœ
j
œœœ
Π.
.œ
j
œ
‰j
œœœ
œœœ
j
œœœ
Œ ..œ
F
F
œœœ
j
œœœ
œœœ
j
œœœ
.œ .œ
œœœ
j
œœœ
œœœ
j
œœœ
.œ .œ
Giga
50
&
#
ms.
62 j
œœœ
Œ œ œœ
J
œ
Œ
f
œ œœ œ œ
œj
œ
‰j
œœœ
œœœ
j
œœœ
Œ . .œ
F
œœœ
j
œœœ
œœœ
j
œœœ
.œ .œ
&
&
#
#
ossia
ms.
66..
œ
œ
-
œ
.
œ
.
œœ
n
-
1
1
4
‰
œ1
2
1
‰.œb
-
œb
.
1œb
.
1
66..
œ
œ
-
œ
.
œ
.
œœ
n
-
‰
œœ
‰ ..
œœ
bb
-
œb
.
œ
.
f
f
.
.
œ
œ
-
œ
.
œ
.
œœ
n
-
‰
œ‰
.œb
-
œb
.
œb
.
.
.
œ
œ
-
œ
.
œ
.
œœ
n
-
‰
œœ
‰ ..
œœ
bb
-
œb
.
œ
.
.
.
œ
œ
-
œ
.
œ
.
.œn
-
œ
.
œ
.
œ‰
œb‰
.
.
œ
œ
-
œ
.
œ
.
.œn
-
œ
.
œ
.
œœ
‰œœ
bb
‰
F
F
.œb
-
œ
.
œb
.
.œn
-
œ
.
œ
.
œ
œb ‰œb
‰
.
.œœ
bb
-
œ
.
œ
.
.œn
-
œ
.
œ
.
œ
œb ‰œœ
bb
‰
&
&
#
#
ossia
ms.
70..
œ
œ
-
œ
.
œ
.
œœ
n
-
‰
œ‰
.œb
-
œb
.
œb
.
70..
œ
œ
-
œ
.
œ
.
œœ
n
-
‰
œœ
‰ ..
œœ
bb
-
œb
.
œ
.
f
f
.
.
œ
œ
-
œ
.
œ
.
œœ
n
-
‰
œ‰
.œb
-
œb
.
œb
.
.
.
œ
œ
-
œ
.
œ
.
œœ
n
-
‰
œœ
‰ ..
œœ
bb
-
œb
.
œ
.
.
.
œ
œ
-
œ
.
œ
.
.œn
-
œ
.
œ
.
œ‰
œb‰
.
.
œ
œ
-
œ
.
œ
.
.œn
-
œ
.
œ
.
œœ
‰œœ
bb
‰
F
F
.œb
-
œ
.
œb
.
.œ
-
œ
œb ‰ œn
œj
œ
.
.œœ
bb
-
œ
.
œ
.
.œ
-
œ
œb ‰œœ
nn
œj
œ
&
&
#
#
ossia
ms.
74j
œœœœ
Πj
œ
.œ
-
‰
74j
œœœœ
Πj
œ
.œ
-
œœ
‰
S
S
œ œ
4
œ
2
œ
3
œ
1
œ
3
œ‰
œ‰
œ œ œ œ œ œ
œœ
‰
œœ
‰
œ
4
œ
3
œ
1
œ
1
œn
4
œ
1
œ‰
œ‰
œ œ œ œ œn œœœ
‰
œœ
‰
œ
3
œ
1
œn
4
œ
0
œ
3
œ
0
œ‰
œ‰
œ œ œn œ œœœ
œ‰
œœ
‰
&
&
#
#
ossia
ms.
78 j
œœ
Πj
œ
.œ
-
J
œ
œ‰ ‰
œ‰
78 j
œœ
Πj
œ
.œ
-
J
œ
œ‰ ‰
œœ
‰
S
S
œ œ œ œ œ œ
œ‰
œ‰
œ œ œ œ œ œ
œœ
‰
œœ
‰
œ œ œ œ œn œ
œ‰
œ‰
œ œ œ œ œn œœœ
‰
œœ
‰
œ œ œn œ œœ
œn1 ‰
œ
œ œ œn œ œœœ
œn‰
œœ
Giga
51
&
#
ms.
82..
œœ
-
œ
.
œ
.
œ
-‰
œœ
#‰
.œn
-
œ
.
œ
.
.
.œœ
-
œ
.
œ
.
œ
-‰
œœ
#
-
‰.œn
-
œ
.
œ
.
.
.œœ
œœ
.œ œœœ
œ#
‰
œœn
‰
.œ œ
œ
.
.œœ
ngggggg
œ
‰ .œ
œ
J
œ
.œ œ
œ
.
.
.
œœœ
nggggggg
œ
‰ .œ
œ
J
œ
&
#
ms.
86 j
œœœ
œ
.
œ
.
.œ
-
J
œ Œ
œœ
412
‰
P grazioso, con spirito(Un poco meno)
œ œ
.
1œ
.
4œ
.
2œ
.
1œ
.
0œœ
.
.
.
œœœ
n
-
œ
.
œ
.
.œ
-
œ ‰
œœn
‰
.
.
.
œœœ
n
-
œ
.
œ
.
.œ
-
œœ ‰
œœn
‰
œ œ
.
œ
.
œ
.
œ
.
œ
.
œœn
&
&
#
#
ossia
ms.
90
œn
j
œœ
œœ
j
œœ
œ
90
œn
j
œœ
œœ
j
œœ
œœ
p un poco espress.
p un poco espress.
œœ
j
œœ
œœ
n
j
œœ
œ
œœ
j
œœ
œœ
n
j
œœ
œœ
.
.œœ
-
.
.œœ
-
œ
01
3 J
œ1œ124
J
œ‰ ‰
P espress.
j
œœ
œ 0J
œœ
J
œ
P
.œ
-
œ
.
œ
.
.œ
-
œ‰
œœ
‰
.œ
-
œ
.
œ
.
.œ
-
œœ ‰
œœ
‰
con spirito
con spirito
P
&
#
ms.
95 œ œ
.
œ
.
œ
.
œ
.
œ
.
œœ
.
.
.
œœœ
-
œ
.
œ
.
.œ
-
œ ‰
œœ
‰
œ œ
.
œ
.
œ
.
œ
.
œ
.
œœ œ
j
œœ
œœ
j
œœ
œ
(un poco espress.)
œœ
# 43
1
j
œœ
œœ
4
3
j
œœ
œ
&
#
ms.
100..
œœ
.
.œœ
œ J
œœ
J
œ‰ ‰
P espress.
œ
j
œœ
J
œJ
œ‰ ‰
œ œœ
F
œ œœ œ œ
œ
j
œ‰
j
œœœ
œœœ
j
œœœ
.œ
j
œ‰
j
œœœ
œœœ
j
œœœ
.œ
f
f
Giga
52
&
&
#
#
ossia
ms.
105œ
œœ
j
œœœ
œœœ
j
œœœ
.œ .œ
105œ
œœ
j
œœœ
œœœ
j
œœœ
.œ .œ
j
œœœ
‰ ‰œ œ
œ
J
œ
F
œ œœ œ œ
œ
j
œ
‰j
œœœ
œœœ
j
œœœ
.œ
j
œ
‰j
œœœ
œœœ
j
œœœ
.œ
f
f
œœœ
j
œœœ
œœœ
j
œœœ
.œ .œ
œœœ
j
œœœ
œœœ
j
œœœ
.œ .œ
&
#
ms.
110 j
œœœ
J
œ
Œ œ œœ œ œ
œ œ œœ
‰ ‰
j
œœ
j
œ
œ œn1
0
‰ ‰
j
œœœœ
j
œœœ
œ œn
P
cresc.
P
cresc.
œ
œ#
4
1
2
j
œœœ
n 11
2
j
œ
œ œ
œ
œ#
j
œœœœ
n
j
œœœ
œ œ
œ#
4
1
j
œœ
œ
n
#
0
2
0
j
œ
œ# œ
œœœ
##
#
j
œœœœ
n
j
œœœ
œ# œ
e animandoF
e animandoF
&
&
#
#
ossia
ms.
115
œb4
1
j
œœ
œ
b 121
j
œ
œb œb
115
œœœ
bn
n
j
œœœœ
bb
j
œœœ
œb œb
œ4
1
j
œœ
œ
b
12
1j
œ
œ œb
œœœ
j
œœœœ
bb
j
œœœ
œ œb
f
a poco
f
a poco
œ4
1
j
œœ
œ
1
21
j
œ
œ œb
œœœ
j
œœœœ
n
j
œœœ
œ œb
œ4
1
j
œœ
œ
n121
j
œ
œ œn
œœœ#
j
œœœœ
n
j
œœœ
œ œn
più fa poco
più fa poco
œ#1
3
j
œœœœ#
11211
j
œ
œœ
œ
œœœ
#
##
j
œœœœ#
j
œ
œœ
œ
&
#
ms.
120...
œœœ
-
432
œ
.
œ
.
œœ
-
‰
œ
.œ
-
œ
.
œ
.
ƒ
.œ
-
œ
.
œ
.
œœ
-‰
œœ
‰.œ
-
œ
.
œ
.
.œ
-
œ
.
œ
.
œ
-‰
œœ
‰œœ
‰
œ
‰
j
œœœœœœ
>
gggggggg
Sf
Giga
53
54
APPENDIX
COPIES OF MANUSCRIPTS
55
56
57
58
59
60
61
62
63
64
65
66
67