AN EDITION OF OTTORINO RESPIGHI`S FANTASIA

AN EDITION OF OTTORINO RESPIGHI’S FANTASIA SLAVA, P. 50
WITH AN ANALYSIS OF HIS EARLY STYLE
by
JASON BRADLEY BAKER
NOEL J. ENGEBRETSON, COMMITTEE CHAIR
LINDA PAGE CUMMINS
CRAIG P. FIRST
TANYA L. GILLE
DANIEL E. SWEANEY
HOLLY L. GROUT
A DOCUMENT
Submitted in partial fulfillment of the requirements
for the degree of Doctor of Musical Arts
in the Department of Music
in the Graduate School of
The University of Alabama
TUSCALOOSA, ALABAMA
2014
Copyright Jason Bradley Baker 2014
ALL RIGHTS RESERVED
ABSTRACT
Fantasia Slava, a 1903 work by Ottorino Respighi (1879-1936) for piano and orchestra,
can be considered the embodiment of his early style. The characteristics of this style will be
examined through brief analyses of four works written prior to Fantasia Slava: Violin Sonata in
D Minor (1897), P. 15; Piano Sonata in F Minor, P. 16 (1897); Six Pieces for Violin and Piano,
P. 31 (1901-2); and Piano Quintet in F Minor (1902). The characteristics developed over the
course of these pieces directly affected the construction of Fantasia Slava and shows the young
composer developing his compositional language.
This document also includes an edition of Fantasia Slava for two pianos–one piano
designated for the solo and another a piano reduction of the orchestral part. The sole publication
of Fantasia Slava is the orchestral score from Ricordi, copyrighted in 1986. It is from this
edition that the author has drawn his two-piano edition. The manuscript for Fantasia Slava,
P. 50 was not available for review at the time of this document. Permission to utilize the first
edition of the work in such a manner was graciously granted by Lucia Castellina, editor at Casa
Ricordi, in a November 14, 2013, email to the author.
The orchestral reduction is intended to reflect accurately the sonority and scope of the
orchestra score, while remaining playable and true to the inherent properties of the modern
piano. Critical notes following the edition reflect discrepancies between the orchestral score and
the present edition. They also outline salient points regarding the edition’s creation.
ii LIST OF ABBREVIATIONS
BE
Baker Edition
bt.
Beat
bts.
Beats
Cb.
Contrabass
Cl.
Clarinet in Bb
FE
First Edition
Fg.
Bassoon
C.i.
English Horn
Fl.
Flute
Cr.
Horn in F
LH
Left hand
Ob.
Oboe
Perc. Percussion
Pf.
Piano
Ott.
Piccolo
Tp.
Timpani
Tr.
Trumpet in Bb
Va.
Viola
Vc.
Cello
Vn.
Violin iii ACKNOWLEDGEMENTS
This document is incomplete without the acknowledgement of many individuals who
unselfishly contributed their time, support, and expertise. The chair of my DMA committee, Dr.
Noel Engebretson, has been at once my private instructor, mentor, and friend while a student at
the University of Alabama. His encouragement accompanies me in every project, and I am
blessed to henceforth have his influence in my teaching and musicmaking.
Dr. Linda Cummins has been my advisor throughout my degree, but has made her impact
felt in so many more ways. Her attention and care for others continue to be an inspiration to me,
and I am endlessly thankful for her advice and wisdom on countless issues. Dr. Cummins will
always have a special place in my heart.
I am also indebted to the remainder of my committee for their remarkable influence
throughout both my degree and the completion of this project. Their enthusiasm for detail
pushed me to perform at my highest level, and they have inspired me to accept nothing less from
myself as a scholar and a musician. Without their support and the influence of countless others,
this project would have never come to fruition.
Finally, I am thankful for the expertise of my friend and colleague, Dr. Amir Zaheri, and
his assistance with the production of this edition. His experience with notational software and
his willingness to assist me with the intricacies of notational conventions was without limit. He
is truly an exemplary colleague, and sets a standard for unselfishness that I forever strive to meet.
iv CONTENTS
ABSTRACT .................................................................................................................................... ii LIST OF ABBREVIATIONS ........................................................................................................ iii ACKNOWLEDGEMENTS ........................................................................................................... iv LIST OF TABLES ......................................................................................................................... vi LIST OF EXAMPLES .................................................................................................................. vii PART ONE:
1. INTRODUCTION ...................................................................................................................... 1 2. RESPIGHI’S STYLE PRIOR TO FANTASIA SLAVA, P. 50 (1903) ......................................... 3 a. Violin Sonata no. 1 in D Minor, P. 15 (1897) ............................................................................. 3 b. Piano Sonata in F Minor, P. 16 (1897) ....................................................................................... 9 c. Six Pieces for Violin and Piano, P. 31 (1901-02) ..................................................................... 16 d. Piano Quintet in F Minor, P. 35 (1902) .................................................................................... 25 PART TWO:
1. INTRODUCTION TO FANTASIA SLAVA, P. 50 (1903)......................................................... 36 2. CRITICAL COMMENTARY .................................................................................................. 48 3. FANTASIA SLAVA, P. 50 (1903) FOR TWO PIANOS ............................................................ 51 REFERENCES ............................................................................................................................. 81 RECORDINGS ............................................................................................................................. 84 v LIST OF TABLES
1.1. Compositions prior to Violin Sonata in D Minor, P. 15 (1897) .............................................. 8
1.2. Compositions between the Violin Sonata in D Minor, P. 15 (1897) and Respighi earning the
violin diploma from Liceo Musicale Bologna in 1899 ................................................................... 9
2.1. Critical Commentary to Accompany the Edition................................................................... 50
vi LIST OF EXAMPLES
1.1. Measures 1-7 from Violin Sonata in D Minor, P. 15: Mvt. I ................................................ 5
1.2. Measures 12-17 from Violin Sonata in D Minor, P. 15: Mvt. I ............................................ 6
1.3. Measures 41-44 from Violin Sonata in D Minor, P. 15: Mvt. I ............................................ 6
1.4. Measures 16-18 from Violin Sonata in D Minor, P. 15: Mvt. II ........................................... 7
1.5. Measures 5-8 from Violin Sonata in D Minor, P. 15: Mvt. III.............................................. 8
1.6. Measures 1-9 from Piano Sonata in F Minor, P. 16: Mvt. I ................................................ 11
1.7. Measures 26-27 from Piano Sonata in F Minor, P. 16: Mvt. I ............................................ 12
1.8. Measures 28-30 from Piano Sonata in F Minor, P. 16: Mvt. I ............................................ 12
1.9. Measures 34-36 from Piano Sonata in F Minor, P. 16: Mvt. II ........................................... 13
1.10. Measures 75-79 from Piano Sonata in F Minor, P. 16: Mvt. II ........................................... 13
1.11. Measures 1-4 from Piano Sonata in F Minor, P. 16: Mvt. III ............................................. 14
1.12. Measures 10-12 from Violin Sonata in D Minor, P. 15: Mvt. II ......................................... 14
1.13. Measures 1-9 from Piano Sonata in F Minor, P. 16: Mvt. III ............................................. 15
1.14. Measures 1-20 from Six Pieces for Violin and Piano, P. 31: Aria ...................................... 17
1.15. Measures 1-7 from Six Pieces fro Violin and Piano, P. 31: Leggenda ............................... 19
1.16. Measures 21-23 from Six Pieces for Violin and Piano, P. 31: Leggenda ........................... 19
1.17. Measures 1-6 from Six Pieces for Violin and Piano, P. 31: Berceuse ................................ 21
1.18. Measures 1-2 from Six Pieces for Violin and Piano, P. 31: Berceuse ................................ 22
1.19. Measures 1-4 from Six Pieces for Violin and Piano, P. 31: Melodia .................................. 23
1.20. Measures 4-9 from Six Pieces for Violin and Piano, P. 31: Serenata ................................. 25
vii 1.21. Measures 1-7 from Piano Quintet in F Minor, P. 35: Mvt. I ............................................... 27
1.22. Measures 1-8 from Johannes Brahms: Piano Quintet in F Minor, Op. 34: Mvt. I .............. 28
1.23. Measures 43-56 from Piano Quintet in F Minor, P. 35: Mvt I ............................................ 29
1.24. Measures 28-30 from Piano Quintet in F Minor, P. 35: Mvt. I ........................................... 30
1.25. Measures 144-146 from Piano Quintet in F Minor, P. 35: Mvt. III .................................... 31
1.26. Measures 61-63 from Piano Quintet in F Minor, P. 35: Mvt. I ........................................... 31
1.27. Measures 15-22 from Piano Quintet in F Minor, P. 35: Mvt. II.......................................... 32
1.28. Measures 27-30 from Piano Quintet in F Minor, P. 35: Mvt. II.......................................... 33
1.29. Measures 37-42 from Piano Quintet in F Minor, P. 35: Mvt. III ........................................ 34
1.30. Measures 140-142 from Piano Quintet in F Minor, P. 35: Mvt III ..................................... 34
1.31. Measures 65-66 from Fantasia Slava, P. 50 ....................................................................... 34
2.1. Measures 1-5 from Fantasia Slava, P. 50 ........................................................................... 39
2.2. Measures 49-52 from Fantasia Slava, P. 50 ....................................................................... 40
2.3. Measures 84-86 from Fantasia Slava, P. 50 ....................................................................... 41
2.4. Measures 87-94 from Fantasia Slava, P. 50 ....................................................................... 41
2.5. Measures 89-90 from Fantasia Slava, P. 50 ....................................................................... 42
2.6. Measures 232-234 from Fantasia Slava, P. 50 ................................................................... 42
2.7. Measures 183-187 from Fantasia Slava, P. 50 ................................................................... 43
2.8. Measures 212-214 from Fantasia Slava, P. 50 ................................................................... 44
2.9. Measures 90-97 from Fantasia Slava, P. 50 ....................................................................... 45
2.10. Measures 244-247 from Fantasia Slava, P. 50 ................................................................... 45
viii 2.11. Measures 289-292 from Fantasia Slava, P. 50 ................................................................... 45
2.12. Measures 1-4 from Fantasia Slava, P. 50 ........................................................................... 46
2.13. Measures 317-322 from Fantasia Slava, P. 50 ................................................................... 47
ix PART ONE
INTRODUCTION
Ottorino Respighi (1879-1936) was born in Bologna, Italy, into a musical climate that
was dominated by the influence of nineteenth-century Italian opera. The political and social
upheaval of nineteenth-century Italy invited the popularity of the theatre in everyday Italian life.
Theatres were widespread throughout the country and, during the carnival season, they would
offer cheap spectacles for the lower classes and nightly opera productions for the upper classes.
This gathering of citizens was worrisome for those in power, who eventually utilized the theatres
as a means of organizing their people and exercising control over them. Nevertheless, it is
sufficient to say that opera and the theatre were entrenched in nineteenth-century Italian life and
culture. Because of opera’s prevalence in Italian culture, much of Italian music from this
century, even instrumental output, possesses a distinctly vocal quality, an aspect prevalent in
Respighi’s early work.
Potita Pedarra, in his catalogue of Respighi’s output, lists 1893 as the year of Respighi’s
first known musical composition, the Piccolo Overture. This piece was written two years after
he enrolled as a violin student at the Liceo Musicale Bologna.1 The overture, like much of
Respighi’s early output, remains unpublished and exists only in manuscript form. Of the fiftyseven known compositions written prior to Fantasia Slava, fifteen have been published.
Characteristics of Respighi’s early style can be seen in a representative cross section of those
1
Potito Pedarra, “Catalogo delle Composizioni di Ottorino Respighi,” in Ottorino Respighi, ed.
Giancarlo Rostirolla (Torino: ERI, 1985), 337.
1
fifteen published works, specifically the Sonata in D Minor for Violin and Piano (1897), Piano
Sonata in F Minor (1897), Six Pieces for Violin and Piano (1901), and Piano Quintet in F Minor
(1902). These pre-1903 compositions reveal Respighi’s development of a unique compositional
language.
Fantasia Slava, while not one of Respighi’s mature works, shows compositional
elements that had been developing in the years leading up to its composition. A brief analysis of
this work and the exploration of such characteristics prepare the reader for an informed
interaction with the two-piano edition of Fantasia Slava that follows. The included edition of
Fantasia Slava, P. 50, is created for two pianos: one for the solo and one for orchestral reduction.
It is based on the work’s first edition, an orchestral score produced by G. Ricordi & Co. in 1986.
While the orchestral score is useful for a conductor and soloist in thorough preparation for a
performance, a two-piano reduction not only allows the soloist to rehearse the piece more readily
with a colleague, but also provides the pianist a convenient means of playing the orchestral part
herself. The critical notes that follow the two-piano edition outline any differences between the
two-piano score and the first edition.
2
RESPIGHI’S STYLE PRIOR TO FANTASIA SLAVA, P. 50 (1903)
Analyzing Respighi’s early works reveals certain compositional techniques, such as a
distinctly vocal approach, the inherent tension of cross rhythm, and a syncopated accompaniment
style, all of which combine with an interest in the musical language of the past. Presented are
brief analyses of representative works from the period prior to Fantasia Slava: Sonata in D
Minor for Violin and Piano (1897), Piano Sonata in F Minor (1897), Six Pieces for Violin and
Piano (1901), and Piano Quintet in F Minor (1902). These works span the years between 1897,
when Respighi was a violin student at Liceo Musicale in Bologna, to 1902, a year before
Fantasia Slava. The analysis uncovers evidence of a composer who methodically considered his
craft and who sought to discover his voice through experimentation in his own compositional
output.
Violin Sonata no. 1 in D Minor, P. 15 (1897)
Of the fifty-seven works produced prior to Fantasia Slava, four are for violin and piano:
Violin Sonata in D Minor, P. 15 (1897); Sarabanda, P. 15a (1897); Giga, P. 15b (1897); and Six
Pieces for Violin and Piano, P. 31 (1901). Including the Violin Sonata in B Minor, P. 110 from
1917, these works constitute the whole of Respighi’s original output for violin and piano. He
also contributed eight realizations for violin and piano of scores by Italian Baroque composers
Locatelli, Porpora, Tartini, Valentini, Veracini, and Vivaldi. These realizations date from 1908
and make up P. 77-84 of Respighi’s oeuvre.2
2
Ibid., 350-1.
3
The Violin Sonata in D Minor, P. 15 (1897) is Respighi’s first chamber composition and
his first work for violin, Respighi’s primary instrument. At the time of its composition, Respighi
was studying violin and viola with Federico Sarti and composition with Luigi Torchi at the Liceo
Musicale in Bologna.
The Violin Sonata was only available in manuscript form until 2011 when A-R Editions,
Inc. with editor Eli Kalman produced an edition of the work. The A-R Editions, Inc. edition is
based on the manuscript housed at the Musico Internazionale e Biblioteca della Musica in
Bologna, Italy.3 Prior to the A-R Edition publication, the work had been recorded four times: on
the Nuova Era (1993), Dynamic (2002), Claves (2007), Tactus (2008), and Genuin (2009)
recording labels. Two other labels released recordings since the publication of this early sonata:
Brilliant Classics (2013) and Naxos (2014).4
Respighi’s instructor at the time, Luigi Torchi, was both a musicologist and a composer.
As a result of Torchi’s guidance, Respighi was no doubt exposed to the music of earlier periods.
This exposure laid the groundwork for his life-long interest in the language of earlier
generations, which is evidenced by his Ancient Airs and Dances, numerous realizations of
Baroque violin sonatas, and musicological writing on and orchestration of Monteverdi’s Orfeo.
It is readily apparent the Lento from this sonata’s two-part introduction that Respighi is
considering the tenets of the French Overture style (see Example 1.1).
3
Ottorino Respighi, Sonata in D Minor for Violin and Piano (1897), ed. Eli Kalman (Middleton,
WI: A-R Editions, Inc., 2011), iv.
4 See Violin Sonata no. 1 in D Minor, P. 15 (1897) in RECORDINGS for complete listings. 4
Example 1.1: Measures 1-7 from Violin Sonata in D Minor, P. 15: Mvt. I5
This turgid French Overture introduction gives way to the second part of the introduction:
a furious Allegro that emphasizes G# and Bb, the two semitones bounding the dominant. It
effectively builds harmonic tension until the dominant sonority at measure 12 heralds the
presentation of the first thematic material (see Example 1.2). Measure 13 marks the statement of
the first theme, a theme that has a decidedly vocal quality with its texture of
melody+accompaniment. The violin’s statement is enhanced by a beautiful countersubject in the
bass line of the piano while the right hand consists of primarily arpeggiation.
5
This example is based on Ottorino Respighi: Sonata in D Minor for Violin and Piano (1897),
edited by Eli Kalman. A-R Special Publications, vol. 14. Middleton, WI: A-R Editions, Inc.,
2011. Used with permission. All rights reserved., 1.
5
Example 1.2: Measures 12-17 from Violin Sonata in D Minor, P. 15: Mvt. I6
The second theme area, shown in Example 1.3, brings into focus a common technique of
Respighi’s early style, which I will refer to as a syncopated accompaniment.
Example 1.3: Measures 41-44 from Violin Sonata in D Minor, P. 15: Mvt. I7
6
Ibid., 4.
6
This style of accompaniment is found throughout Respighi’s early works and will be seen
again in the Six Pieces for Violin and Piano, P. 31 (1901). It encourages a forward momentum
to the setting, while also providing an energized sustained quality.
The second movement of the Violin Sonata in D Minor, P. 15 (1897) illustrates another
common attribute of Respighi’s early style: cross-rhythm, specifically triple vs. duple (see
Example 1.4).
Example 1.4: Measures 16-18 from Violin Sonata in D Minor, P. 15: Mvt. II8
Respighi chose to enhance the beautiful vocal quality of the violin’s duple melodic
material with an accompaniment that is largely composed of triplets. It is only in moments of
dramatic repose that this cross-rhythmic relation is abandoned. The third movement, Scherzo,
also utilizes this texture to portray its turbulence (see Example 1.5). Extensive use of this
method to convey the mood and motion of the score is rather common in Respighi’s early style.
7
Ibid., 4.
8
Ibid., 15.
7
Example 1.5: Measures 5-8 from Violin Sonata in D Minor, P. 15: Mvt. III9
The Violin Sonata in D Minor, P. 15 is a successful example of Respighi’s early
compositional style. This work indicates a composer expanding established forms using the
musical language of nineteenth-century Italy.
The year 1897 indicated a shift in Respighi’s compositional output. As Table 1.1 shows,
the vast majority of his output prior to 1897 involved the use of small forms.
Table 1.1: Compositions prior to Violin Sonata in D Minor, P. 15 (1897)
Pedarra # Date
Title
Type of Work
1
1893
Piccolo Overteure
Overture
1b
1893-4
Sentite Tintinnan le mandrie
Soprano/Chorus/Orchestra
2
1894
Preludio
Orchestral
3
1894
Compito di armonia
Class Exercise
4
1895
Compito di armonia
Class Exercise
4a
1895-6 Sonata in A Minor for Piano (Version 1)
Sonata
4b
1895-6 Sonata in A Minor for Piano (Version 2)
Sonata
5
1896
Compito di polifonico
Class Exercise
6
1896
Andante for Piano (F Major)
Short Piece for Piano
7
1896
Andante for Piano (D Major)
Short Piece for Piano
8
1896
L’ultima ebbrezza for voice and piano
Voice and Piano Work
9
1896
Lagrima for voice and piano
Voice and Piano Work
10
1896
Allegro for piano
Short Piece for Piano
11
1896
Notturno (for voice and piano)
Voice and Piano Work
12
1897
Tanto bella! (for voice and piano)
Voice and Piano Work
13
1897
Gosdemlem (for 4-hands piano)
4-hands Piano Work
14
1897
Tema di contrappunto
Class Exercise
9
Ibid., 23.
8
However, production between 1897 (the D Minor Violin Sonata) and the conferral of his
violin diploma in 1899 reveals an increasing attraction larger forms (See Table 1.2).
Table 1.2: Compositions between the Violin Sonata in D Minor, P. 15 (1897) and Respighi
earning the violin diploma from Liceo Musicale Bologna in 1899
Pedarra #
15
15a
15b
16
17
18
19
20
21
22
23
24
25
Date
November 1897
1897
1897
1897-8
Title
Genre
Sonata in D Minor for Violin and Piano
Sonata
Sarabanda (for violin and piano)
Sarabande
Giga (for violin and piano)
Gigue
Sonata in F Minor for Piano
Sonata
Salutazione angelica
1897-8
Cantata
(for soprano, chorus, and orchestra)
Dec. 1897-Jan. 1898
Quartet in D Major No. 1
String Quartet
Cortege (transcription of Moskowski
March 1898
Character Piece
for string quartet)
1897-8 (May?)
Quartet in Bb Major No. 2
String Quartet
1897-8 (May?)
Quintet in G Minor
Wind Quintet
August 1898
Suite for Piano
Suite
August 1898
Preludio for Piano
Prelude
Christus
1899
(for tenor and bass soloist
Cantata
with male chorus and orchestra)
1899
Fuga reale a 4 voci
4-voice fugue
Noticeably absent in Table 1.2 are juvenile attempts at larger scale works and the
predominance of works in small forms. In this period, Respighi completed a mature Piano
Sonata, two Cantatas, two String Quartets, a Wind Quintet, a 4-voice Fugue, and a Suite for
Piano. The Violin Sonata, therefore, signifies a newly found comfort with larger forms.
Piano Sonata in F Minor, P. 16 (1897)
In 1895-6, Respighi produced a youthful Piano Sonata in A Minor, P. 4a-b.10 The work
is evidence of a promising and ambitious young composer, but one who was unable to
successfully maneuver large-scale musical structures. The melodic material is unique and
10
Pedarra, 337.
9
intriguing, but its setting is not sufficiently sophisticated in its approach to maintain interest in
this larger form.
Respighi’s second attempt at a piano sonata, the Piano Sonata in F Minor of 1897, was
published by G. Ricordi & Co. in 1986 on the fiftieth anniversary of the composer’s death. Also
currently published are four commercially available recordings. The Italian pianist Massimo
Palumbo presented the recording premiere in 1993 on the Nuova Era label. Three recordings
have followed by other artists on Naxos (1997), Jasrac/Tokuma (2000), and Dynamic (2002).11
The Piano Sonata builds on the successful attributes of the Violin Sonata in D Minor,
P. 15, expanding some ideas further, and introducing other newly discovered concepts, such as
the rhythmic repetition of pitches and alternating of the hands. There are three main similarities
between the Piano Sonata and Violin Sonata. Like the Violin Sonata, Respighi opens the first
movement of his Piano Sonata with an introduction that builds in intensity until an arrival at
dominant harmony. The Piano Sonata’s texture, like the work for violin, closely resembles that
of a nineteenth-century aria with its melodic line accompanied by an arpeggiated figure. These
two attributes can be observed in Example 1.6, which is a reprint of the introduction and the
beginning of the first theme area.
11 See Sonata in F Minor for Piano, P. 16 (1897) in RECORDINGS for complete listings.
10
Example 1.6: Measures 1-9 from Piano Sonata in F Minor, P. 16: Mvt. I12
In the Violin Sonata, Respighi places the second theme area in Bb major, the submediant
of the overall key of D minor. Similarly in the Piano Sonata, he explores the submediant for the
second thematic area. Respighi takes additional steps to contrast the second theme material with
the first theme by presenting it in triple division instead of the preceding material’s duple
division. While the underlying metric division of the second theme area is triple, the melody
contains duple elements. This differing division of the pulse results in the cross-rhythmic
concept of 3:2. The initial cross-rhythmic unit of this section is the eighth vs. eighth-note triplet,
as seen in Example 1.7.
12
From the edition Ottorino Respighi, Sonata in Fa Minore per Pianoforte. (Milano: G. Ricordi
& C., 1986), 1.
11
Example 1.7: Measures 26-27 from Piano Sonata in F Minor, P. 16: Mvt. I13
However, in Example 1.8, Respighi extends this idea in the Piano Sonata to the quarter
note vs. the quarter-note triplet. Of course, this is simply an expansion of the cross-rhythm
concept from Example 1.7, but it indicates Respighi extending this concept further. Such an
extension is foreshadowing of further development in the second movement.
Example 1.8: Measures 28-30 from Piano Sonata in F Minor, P. 16: Mvt. I14
In the second movement, Respighi begins to expand the possibilities of cross-rhythmic
expression to its extreme. Building on his techniques from the Violin Sonata and the opening
movement of the Piano Sonata, Respighi composes a movement that is essentially an arena for
exploration in duple vs. triple cross rhythm. There are two discoveries for Respighi in
movement II: the octuplet vs. triplet and the implications of simultaneous usage of simple and
13
Ibid., 2.
14
Ibid., 2.
12
compound triple meter. Examples 1.9 and 1.10 illustrate the extension of these compositional
ideas.
Example 1.9: Measures 34-36 from Piano Sonata in F Minor, P. 16: Mvt. II15
Example 1.10: Measures 75-79 from Piano Sonata in F Minor, P. 16: Mvt. II16
At the conclusion of the second movement of the Piano Sonata in F Minor, P. 16, it
seems that Respighi has exhausted his current cross-rhythmic imagination.
The third, and final, movement of the sonata is written in a simple triple meter with only
the occasional, but not jarringly unpredictable, metrical manipulation. More importantly, this
movement is an example of two methods that were heretofore not thoroughly explored in the
15
Ibid., 12.
16
Ibid., 15.
13
Violin Sonata. Only three bars into this movement of the Piano Sonata, Respighi utilizes the
repetition of pitches for a purely rhythmic purpose.
Example 1.11: Measures 1-4 from Piano Sonata in F Minor, P. 16: Mvt. III17
Respighi had introduced this idea in the second movement of the Violin Sonata with the
repeating triplets, shown in Example 1.12, but not with the same intensity of the Piano Sonata’s
last movement.
Example 1.12: Measures 10-12 from Violin Sonata in D Minor, P. 15: Mvt. II18
Another new idea is the use of alternating hands present in measures 9-10 of the last
movement in the Piano Sonata in F Minor, P. 16. This is shown in Example 1.13, which is a
reprint of measures 5-14 of the last movement.
17
Ibid., 16.
18
This example is based on Ottorino Respighi: Sonata in D Minor for Violin and Piano (1897),
edited by Eli Kalman. A-R Special Publications, vol. 14. Middleton, WI: A-R Editions, Inc.,
2011. Used with permission. All rights reserved., 15.
14
Example 1.13: Measures 5-14 from Piano Sonata in F Minor, P. 16: Mvt. III19
This technique can be considered closely related to the syncopated accompaniment with
the only difference being the intent of the alternation. Respighi’s sole purpose in the final
movement of the Piano Sonata is to propel forward motion, while the syncopated
accompaniment of the Violin Sonata is to simply provide a rhythmized sustaining
accompaniment.
Much of Respighi’s compositional output following the Violin Sonata in D Minor, P. 15
and the Piano Sonata in F Minor, P. 16 shows an exploration of larger forms. It was not until
after his employment as violist in the Russian Imperial Theatre and the pivotal five months of
instruction with the Russian master Nikolai Rimsky-Korsakov that Respighi would again
supplement his output with composition in smaller forms, as found in the Six Pieces for Violin
and Piano, P. 31.20
19
From the edition Ottorino Respighi, Sonata in Fa Minore per Pianoforte. (Milano: G. Ricordi
& C., 1986), 17.
20
Alvera, 15.
15
Six Pieces for Violin and Piano, P. 31 (1901-02)
The date of composition for the Six Pieces for Violin and Piano, P. 31, is somewhat
ambiguous. The collection is an amalgamation of short works, all of which were not originally
intended for violin and piano. According to Pedarra’s record of Respighi works, the sixth piece
in the set was the first work to be composed. The Aria is a violin and piano transcription of
Respighi’s earlier piece of the same name for violin and organ. It was written in Moscow in
March 1901, leading to speculation that the work was composed with direction from RimskyKorsakov.21 The violin’s line is vocal in style and features stepwise motion as a predominant
element. Absent is the use of the triple-duple cross-rhythm; instead, Respighi employs a direct
and efficient rhythmic setting.
21
Pedarra, 341.
16
Example 1.14: Measures 1-20 from Six Pieces for Violin and Piano, P. 31: Aria22
22
From the edition Ottorino Respighi,Six Pieces for Violin and Piano. (Boca Raton, FL: MasterS
Publications, 1905), 31.
17
The Aria has enjoyed individualized attention from performers since its composition.
Most recently, the Chamber Orchestra of New York, Ottorino Respighi released a recording on
Naxos23 of conductor Salvatore Di Vittorio’s violin and orchestra arrangement of the work. 24
The group’s Honorary Board includes prominent Respighi scholars Potito Pedarra and Luigi
Verdi, as well as members of Respighi progeny. Italian organist Ireneo Fuser also produced a
transcription of the work, for solo organ, that was published in 1949 by the Bolognese firm
Bongiovanni.25 This transcription has been recorded by the Italian organist Andrea Macinanti in 200126 and 2005.27 Respighi also used the Aria in the 1905 Suite in G Major for Strings and
Organ, which has been recorded eight times in its entirety. The Suite was premiered in Trento in
1905, but was not published until 1957 by Biongiovanni.28
The third work of the Six Pieces is Leggenda, originally composed in Berlin,
March 1902, for violin and orchestra. According to Pedarra, this is the second of the
Six Pieces for Violin and Piano to be composed.29 The original version of the work, for violin
and orchestra, remained unpublished until Respighi’s use of it in the Six Pieces. However,
unlike the other five works, this composition does not translate so easily into its violin and piano
arrangement. The introductory material alone stands as entirely orchestral in its scope.
23
Ottorino Respighi, Aria in G Major, P. 32, Salvatore Di Vittorio, conductor, and Chamber
Orchestra of New York-Ottorino Respighi, Orchestra. Naxos 572332, CD, 2011.
24
Ottorino Respighi, transcribed by Salvatore Di Vittorio. Aria per archi, P. 32. Palerma, Italia:
Edizioni Panastudio, 2010.
25
Ottorino Respighi, transcribed by Ireneo Fuser. Aria per Organo: dalla Suite in Sol maggiore.
Bologna: F. Bongiovanni, 1949.
26 Ottorino Respighi, Aria in G Major, P. 32, Andrea Macinanti, organ, Tactus TC 871801, CD
2001. 27
Ottorino Respighi, Aria in G Major, P. 32, Andrea Macinanti, organ, Tactus TC 871802, CD
2005.
28
Pedarra, 346.
29
Pedarra, 342.
18
Example 1.15: Measures 1-7 from Six Pieces for Violin and Piano, P. 31: Leggenda30
Because of the inherent decay of the piano, the orchestral swell of the thirds in the upper
staff is not nearly so effective on the instrument. Bars 21-23 further indicate the
inappropriateness of the transcription.
Example 1.16: Measures 21-23 from Six Pieces for Violin and Piano, P. 31: Leggenda31
30
From the edition Ottorino Respighi, Six Pieces for Violin and Piano. (Boca Raton, FL: Masters
Publications, 1905), 14.
31
Ibid., 14.
19
To be a true partner with the violin in measure 22, the pianist should crescendo with the
instrument, rather than the decay that is the reality of the piano. Therefore, Leggenda can only
be considered a violin work with orchestral reduction.
From February to April 1902, Respighi attended classes in Berlin led by Max Bruch.
While Spini explained that these lessons had little affect on the young Respighi, the uniqueness
of Leggenda when compared to his contemporary works suggests that Respighi attempted to
experiment with some of the new ideas to which Bruch introduced him.32 None of the
characteristics from his early style are found in this work except vocally inspired melodic
writing. The uniqueness of the work lies in Respighi’s setting of the melodic line, which stands
out as highly orchestral. Beautifully voiced chords and arpeggiation underneath a fluid violin
line comprise the primary characteristics of this work. The piece has not been published outside
the Six Pieces for Violin and Piano, P. 31, but has been recorded twice on commercial labels:
Tirreno (1994) and Inedita (2007).33
The third work composed in the set of Six Pieces for Violin and Piano, P. 31 is the
Berceuse. Like other pieces in the group, this work was originally composed for violin and
orchestra. Composed in 1902, it was first performed 8 June 1902 at the Liceo Musicale in
Bologna. It has remained unpublished outside the Six Pieces, but has been twice recorded on the
Tirreno label (1994) and Chandos (1995).34
Unlike Leggenda, Respighi’s adaptation of this violin and orchestra piece also functions
effectively for violin and piano. The composition is a serene lullaby that reaches forte only once
32
Daniele Spini, “Ottorino Respighi (1879-1936): Profilo biographico.” in Ottorino Respighi, ed.
Giancarlo Rostirolla (Torino: ERI, 1985), 15.
33 See Leggenda, P. 36 (1902) in RECORDINGS for complete listings.
34 See Berceuse, P. 38 (1902) in RECORDINGS for complete listings. 20
and maintains dynamic levels of piano and pianissimo for the majority of its duration. Example
1.17 is typical of the piano and violin relationship.
Example 1.17: Measures 1-6 from Six Pieces for Violin and Piano, P. 31: Berceuse35
The piano is accompanimental throughout, with murmuring arpeggiations in the upper
staff for the majority of the piece. Above this landscape, the violin is in mostly stepwise motion,
a hallmark of Respighi’s vocal style.
35
From the edition Ottorino Respighi,Six Pieces for Violin and Piano. (Boca Raton, FL: Masters
Publications, 1905), 1.
21
Example 1.18: Measures 1-2 from Six Pieces for Violin and Piano, P. 31: Berceuse36
Closer examination of the material reveals the composer’s economical use of resources.
Considering only measure 1, shown in Example 1.18, one notices three instances of a motivic
cell: D-C-D, C-Bb-C, and A-G-A. This motive is directly related to the first three pitches of the
violin melody. Heretofore, Respighi’s style has been somewhat straightforward with little
interest in significant motivic transformation. This work marks the first piece to show a
concentrated effort in motivic relationships, indicating a growing sophistication of his style.
The next two works composed for the set are the Melodia and Valse caressante. These
pieces were composed as one work in the Melodia e valse caressante, P. 42. Pedarra does not
indicate a composition date, but his listing implies either 1902 or 1903.37 It was written
originally for flute and strings, but is unpublished and unrecorded in this arrangement. Melodia
is utilized in the Six Pieces as the second piece in the set, and Valse caressante functions as the
fourth. The Valse caressante is also found in the 1903 Six Pieces for Piano, P. 44, but in a
different key. The violin and piano arrangement is written in D Major, while the solo piano
36
Ibid., 1.
37
Pedarra, 343.
22
version is in Eb Major. Both versions are identical in structure and musical material, with only a
few details missing from the solo piano arrangement.
Example 1.19 shows Melodia as a prime example of Respighi’s use of syncopated
accompaniment. Respighi has designated that the piece should be performed Andantino mosso,
roughly translated as “a moving Andantino”; the syncopation in the piano contributes well to the
forward motion needed to achieve this expressive marking. Also present in this short piece is the
triple vs. duple relation so common in Respighi’s early compositions. Examining the section
marked Agitato by Respighi reveals the violin’s prevalent use of triplets, while the piano
maintains a duple division. One notable difference is that Respighi has altered the bass line of
the piano to arrive on the offbeats of the measure. This alteration of metrical placement coupled
with the triplets of the solo line allow for the Agitato nature of this section to naturally occur.
Example 1.19: Measures 1-4 from Six Pieces for Violin and Piano, P. 31: Melodia38
The Valse caressante is a well-crafted charming work for violin and piano that could
easily have been heard in the popular music of nineteenth-century Bologna. It begins with a
piano introduction that announces the entry of the violin melody. The piano’s role is entirely
accompanimental until the B section, in the key of the subdominant G Major, where the two
38
From the edition Ottorino Respighi, Six Pieces for Violin and Piano. (Boca Raton, FL: Masters
Publications, 1905), 8.
23
instruments join together for the melodic line. The A section returns as before and is followed
by the C section in the key of the dominant A Major. Finally, the A section concludes the work.
Respighi’s use of key relationships is masterful in this work, which are outlined as TonicSubdominant-Tonic-Dominant-Tonic. Such a straightforward and efficient structure is a strength
of this carefree piece.
The composition date of Serenata, which is taken from Respighi’s 1905 comic opera Re
Enzo, is unclear. Pedarra does not list the work separately from the opera itself; many sources
list the composition date of the entire set of Six Pieces as between 1901 and 1905. It was not
uncommon in the nineteenth century for popular opera arias to be extracted and performed
separately or adapted for use in concert arrangements, so despite Re Enzo’s 1905 composition
date, one cannot immediately ascribe the date of Serenata to the same year. Pedarra points out in
his comments concerning the Six Pieces that “we can deduce that the six pieces were composed
between 1901 and 1902, as the first 4 pieces are orchestral versions dated 1902 and the last one
dated 1901.”39 His assumption is clearly that the aria from Re Enzo was composed in the years
1901-02. With no evidence of a premiere for the set, nor a first edition published prior to 1905,
it is likely that Serenata was composed before the premiere of Re Enzo in March 1905.40
Similar to Berceuse, this work features the piano primarily in an accompanimental role,
while the violin assumes the melodic line. Also like Berceuse, the accompaniment pattern
remains the same throughout with alterations only for harmonic changes. Bars 37-42 add the
melodic material to the piano’s accompaniment pattern, while the violin provides filigree and
color to the melody. This particular piece is closely aligned with the arias of nineteenth-century
Italy, specifically Bellini and Donizetti, in which the accompanying force primarily contributed
39
Pedarra, 341.
40
Ibid., 345.
24
harmonic support through use of arpeggiation. Given Respighi’s compositional ancestry and the
musical climate of nineteenth-century Italy, it is no coincidence that this style is present in his
work.
Example 1.20: Measures 4-9 from Six Pieces for Violin and Piano, P. 31: Serenata41
Piano Quintet in F Minor, P. 35 (1902)
Referencing Pedarra’s record, it appears that the compositions between the Six Pieces for
Violin and Piano, P. 31 of 1901 and the Piano Quintet in F Minor, P. 35 from 1902 include the
String Quintet in G Minor, P. 33 (1901), the String Quartet in Bb Major, P. 33a (1901), and the
Orchestral Suite in E Major, P. 34 (1901). However, in actuality, these works from the Six
Pieces were composed amidst the larger compositions.
41
From the edition Ottorino Respighi, Six Pieces for Violin and Piano. (Boca Raton, FL: Masters
Publications, 1905), 27.
25
The premiere performance of the Piano Quintet in F Minor, P. 35 took place on 8 June
1902 at the Liceo Musicale in Bologna with Antonio Illesberg, piano, the composer on first
violin, Umberto Supino as second violin, Mario Corti, viola, and the cellist Ferdinando Frasnedi.
However, the performance included only three movements of the composition: Allegro,
Andantino, and Presto.42 Pedarra indicates that the first edition, the manuscript for which is
housed in Siena at the Biblioteca Comunale di Palazzo Sormani, contains only three movements,
while the second set of parts, currently in Venezia at the Fondazione Giorgio Cini, includes all
four. Presumably, this discrepancy would indicate that Respighi added the final movement to the
Piano Quintet some time after the premiere performance of 8 June 1902. The first (and currently
the only available) edition of the Piano Quintet in F Minor, P. 35 is the G. Ricordi & Co.
publication, copyrighted 1986. The Ricordi edition is based on the first set of parts and contains
only the first three movements. In all of the current commercially available recordings of this
work, none include the fourth movement. Recordings of this composition are found on the
following labels: Ermitage (1993), Nuovo Era (1993), Dynamic (1994, 2002), Aura Classics
(2000), Chandos (2001), and Amadeus (2011). 43
The Piano Quintet is closely related to the Brahms Quintet of the same key, a connection
that is immediately recognizable in the first few bars of the piece (compare Examples 1.21 and
1.22). Both works begin with an octave statement of thematic material followed by sixteenths in
the piano. The similarities continue through the quintet to a degree that makes it clear that
Respighi was using Brahms’ monumental work as a model.
42
Pedarra, 342.
43
See Piano Quintet in F Minor, P. 35 (1902) in RECORDINGS for complete listings.
26
Example 1.21: Measures 1-7 from Piano Quintet in F Minor, P. 35: Mvt. I44
44
From the edition Ottorino Respighi, Quintetto in Fa Minore per Pianoforte e Archi. (Milano:
G. Ricordi & C., 1987), 1.
27
Example 1.22: Measures 1-8 from Johannes Brahms: Piano Quintet in F Minor, Op. 34: Mvt. I45
The vocal style of Brahms’ opening bars would have resonated with Respighi, with its
simple statement of a melodic figure presented in octaves throughout the ensemble, would have
inspired Respighi to attempt the same success in his own piano quintet. Therefore, it is no
surprise that this approach permeates the work, resulting in a minimally contrapuntal style, as
seen in measures 48-56 (See Example 1.23). The cello and first violin are in octaves while the
piano serves a purely accompanimental role. A few bars later, the viola and first violin are in
octaves, the cello and second violin are paired, and all are accompanied by the piano.
45
From the edition Johannes Brahms, Quintett for Pianoforte, 2 Violinen, Bratsche, und
Violoncell, Op. 34, ed. Hans Gal (Leipzig: Breitkopf & Härtel, 1926-7), 1.
28
Example 1.23: Measures 48-56 from Piano Quintet in F Minor, P. 35: Mvt. I46
Another common feature of this work is the use of tremolos as interlocking octaves, as in
measures 28-30 of the first movement, seen in Example 1.24. Respighi seems to use this concept
as the piano’s method of producing an effect similar to the strings’ tremolos, which occur in the
preceding bars.
46
From the edition Ottorino Respighi, Quintetto in Fa Minore per Pianoforte e Archi. (Milano:
G. Ricordi & C., 1987), 5.
29
Example 1.24: Measures 28-30 from Piano Quintet in F Minor, P. 35: Mvt. I47
If considering the two procedures related, the tremolo is utilized prominently throughout
the entire composition. Example 1.25 is from the final movement of the work.
47
Ibid., 3.
30
Example 1.25: Measures 144-146 from Piano Quintet in F Minor, P. 35: Mvt. III48
Not unrelated to the tremolo is the repetition of pitches for the purpose of forward
momentum. See Example 1.26, a reprint of bars 61-63 from the first movement.
Example 1.26: Measures 61-63 from Piano Quintet in F Minor, P. 35: Mvt. I49
48
Ibid., 47.
49
Ibid., 6.
31
This passage recalls the third movement of the Piano Sonata in F Minor, P. 16 (see
Examples 1.8 & 1.9).
The usage of the syncopated accompaniment style figures prominently into the Piano
Quintet as well. It is prevalent in the second movement, which is marked Andantino. It shows
up in both the piano solo sections and the portions in which the piano is simply accompanying
the strings. Example 1.27 stems from bars 15-22 where the tenor and alto voices of the solo part
form the accompaniment to the soprano and bass.
Example 1.27: Measures 15-22 from Piano Quintet in F Minor, P. 35: Mvt. II50
50
Ibid., 35.
32
A few bars later, beginning in measure 25, the piano utilizes this same method in
accompanying the strings’ melodic material. Example 1.28 is from measures 27-30.
Example 1.28: Measures 27-30 from Piano Quintet in F Minor, P. 35: Mvt. II51
Another common technique of Respighi’s is the 3:2 relation. It is found throughout all of
the works examined thus far and is present also in his Piano Quintet. The third movement begins
with the piano establishing what sounds like a straightforward 6/8. However, measure 13 enters
with the strings playing eighths in 2/4, the movement’s designated time signature. The cross
rhythm pervades the movement. Example 1.29 is a reprint of bars 37-42 from the movement.
51
Ibid., 36.
33
Example 1.29: Measures 37-42 from Piano Quintet in F Minor, P. 35: Mvt. III52
The similarities between the Piano Quintet and Fantasia Slava renders it possible that
Respighi was using his own quintet as an arena to prepare for the composition of Fantasia Slava,
which would be completed the following year. Selected for comparison in Example 1.30 and
Example 1.31 is a direct connection to Fantasia Slava: the appearance of quintuplets in the last
movement’s Presto.
Example 1.30: Measures 140-142 from Piano
Quintet in F Minor, P. 35: Mvt. III53
Example 1.31: Measures 65-66 from
Fantasia Slava for Piano and Orchestra, P.
5054
The culmination of the compositional elements in Respighi’s early works is found in the
Piano Quintet in F Minor, P. 35. Observed in this work are the techniques of using a syncopated
accompaniment style, Respighi’s vocal style, the cross-rhythmic possibilities of triple vs. duple,
52
Ibid., 39.
53
Ibid., 47.
54
From the edition Ottorino Respighi, Fantasia Slava for Piano and Orchestra. (Milano:
G. Ricordi & C., 1987), 11.
34
and the use of repeated pitches, interlocking octaves, or tremoli to create forward momentum and
motion. The development of his compositional style is observable in his increased adaptations of
larger forms and structures and his development of motivic efficiency. His experimentation and
exploration of his personal craft spurred him to develop his style efficiently and effectively. The
works examined here project an upward trajectory of compositional complexity that prepared
Respighi for his first experiments with the form of his Piano Concerto and Fantasia Slava that
was to follow.
35
PART TWO
INTRODUCTION TO FANTASIA SLAVA, P. 50 (1903)
Ottorino Respighi’s Fantasia Slava, P. 50 is a work for piano and orchestra composed in
1903 that is often referred to in Respighi literature as the “G Minor Fantasy.” Some speculation
may be made regarding the “Slavic” designation Respighi assigns this fantasy for piano and
orchestra. John Tyrrell writes of the dumka, a common Slavic musical form, that adaptations of
the form are typically based in minor, but contain use of modal contrast. According to Tyrrell, a
dumka possesses a structure of multiple sections in which one might be a contrasting faster
section in major.55 The first section of Fantasia Slava is primarily based in minor with a rather
slow, plaintive melody, while the second section is much faster, in the major mode, and of a
different character. Therefore, it is possible to consider Fantasia Slava related to the Slavic
dumka. Additionally supportive of this claim is the proximity of Respighi’s trip to Russia to the
work’s composition date. While no definitive evidence is available, the popularity of this form
in Russian composition renders it probable that he would have been exposed to the dumka form
in his five-month tenure at the Russian Imperial Theatre or in his lessons with Nikolai RimskyKorsakov.56
55
John Tyrrell. "Dumka." Grove Music Online. Oxford Music Online. Oxford University Press,
accessed April 22, 2014,
http://www.oxfordmusiconline.com/subscriber/article/grove/music/08312.
56
Consider Russian examples of Dumky from Tchaikovsky (Dumka, Op. 59), Balakirev (Dumka
in Eb Minor), and Mussorgsky (Parasya’s “Dumka” from Sorochintsy Fair). 36
The orchestration for the work requires piccolo, two flutes, two oboes, Bb clarinets, two
bassoons, four horns in F, two trumpets, percussion, violin I & II, viola, cello, and bass.
According to Pedarra’s 1986 record of Respighi works, the premiere performance of Fantasia
Slava took place on 31 January 1904 in Respighi’s hometown of Bologna with Filippo Ivaldi
performing on piano and Bruno Mugellini conducting.
Mugellini and Ivaldi were no strangers to Respighi; both were students of Guiseppe
Martucci at the Liceo Musicale Bologna.57 Ivaldi performed as pianist in the premiere of
Respighi’s Piano Concerto in A Minor, P. 40, which took place at the Liceo on 8 June 1902.58
Mugellini was serving as professor of piano at the Liceo Musicale in 1898 while Respighi was a
violin student there.59 Additionally, Daniele Spini reports that the Mugellini Quintet premiered
the Respighi Piano Quintet and included it on the repertoire list of a ten-concert Italian tour in
the spring of 1906. 60 It was in this year that the group, minus Mugellini, also presented the
premiere of Respighi’s 1904 String Quartet No. 3 in D Major, P. 53. 61
The manuscript of Fantasia Slava, P. 50, which is currently housed at the Ricordi
Historical Archive in Milan, was not available to review for the present edition. G. Ricordi &
Co. has edited and published the only available edition of the work, an orchestral score,
copyrighted 1986. Also published are four commercial recordings of this work, available on the
following labels: Chandos (1994), Tirreno (1994), Naxos (1995), and Brilliant Classics (2013). 62
57
Sergi Martinotti, “La Musica per Pianoforte di Respighi.” in Ottorino Respighi, ed. Giancarlo
Rostirolla (Torino: ERI, 1985), 190.
58
Pedarra, 343.
59 At the time of Fantasia Slava’s premiere performance, Mugellini was still serving as professor
of piano at the Liceo Musicale Bologna.
60
The Mugellini Quintet was comprised of Mario Cort and Fantuzzi, violins, Respighi as violist,
Antonio Certani as cellist, and Bruno Mugellini performing as pianist.
61
Spini, 18.
62
See Fantasia Slava, P. 50 (1903) in RECORDINGS for complete listings.
37
Fantasia Slava exhibits many characteristics of Respighi’s early style, including the
vocal quality of the writing style, cross-rhythms, metrical manipulation, motivic development,
and others. The influence of the vocal style on Respighi can be observed in the opening
statement of the clarinets, bassoons, and strings, as seen in Example 2.1. The dominance of the
melody+accompaniment arrangement is immediately apparent, a feature that can be described as
vocal in nature.
38
Example 2.1: Measures 1-5 from Fantasia Slava, P. 5063 63
From the edition Ottorino Respighi, Fantasia Slava for Piano and Orchestra. (Milano:
G. Ricordi & C., 1987), 1.
39
The piano solo does not interact with the orchestra as a member of the texture in any
significant manner until the G Major section, which begins at m. 87 and is denoted by a tempo
change and expression marking of Allegro con fuoco. Up until this point, the soloist simply
comments on or accompanies the ensemble using various scalar passages, arpeggios, and
extended passagework. A typical example of this relationship is in the second statement of the G
Minor melody, beginning in measure 49. Printed here is an excerpt (measures 49-52) from the
passage with reduction completed by the author.
Example 2.2: Measures 49-52 from Fantasia Slava, P. 50
The section marked Allegro con fuoco exemplifies another familiar aspect of Respighi’s
early style: the ubiquitous duple vs. triple cross rhythm. Respighi transitions into the section
40
with a non-melodic figure in the piano where the upper staff is entirely duple and the bottom
staff is triple.64
Example 2.3: Measures 84-86 from Fantasia Slava, P. 5065 However, Respighi chooses in the Allegro con fuoco theme to utilize the triple vs. duple
cross rhythm in its metrical application: the hemiola. It is striking that measures 87-94, the first
statement of the Allegro con fuoco theme in the piano solo, is entirely based in hemiola. In
contrast to the metrical instability of the hemiola-dominated measures 87-94, Respighi sets the
final two bars, measures 93 and 94, squarely in 3/4 (see Example 2.4, printed here from the twopiano reduction of the piece).
Example 2.4: Measures 87-94 from Fantasia Slava, P. 50
64
This could also be considered an example of quadruple vs. triple. Regardless, the concept of
cross rhythm is at play in these measures.
65
Ibid., 17.
41
The charm of this theme is a result of the arrival of this hemiolic effect after the
preceding 89 bars of clear 4/4. As a result, it is rather confusing and a bit surprising when the
phrase is concluded in bars 96 and 97 so definitively in 3/4. Another remarkable moment of
interest in this opening phrase of the Allegro con fuoco is the cadence of the antecedent phrase,
bars 89 and 90 (see example 2.5).
Example 2.5: Measures 89-90 from Fantasia Slava, P. 50
The hemiola remains in full force in the left hand, while the right hand is squarely in the
triple meter of 3/4. Another such situation is found beginning in bar 236, reprinted here as a
portion of the orchestral score.
Example 2.6: Measures 232-234 from Fantasia Slava, P. 5066
66
Ibid., 41.
42
The meter designations in this instance signify the cross-rhythmic relation. All
instruments’ meters are designated as 2/4, with the exception of the timpani, which maintains
3/4. Respighi’s use of this technique has now developed to a remarkable level, and he projected
the interest of the cross-rhythmic relation of 3:2 in multiple guises.
The casual listener may begin to wonder at this point in the work if Respighi has
abandoned the original G minor melody altogether. However, it is clear that Respighi is now
beginning a skillful marriage of the two melodies. The work continues with orchestra and soloist
trading statements of this original Allegro con fuoco theme in various keys and settings until
measure 141, marked Piu Vivace, unexpectedly returns to the original G minor material.
Comparing the material of the oboes and upper staff of the piano in mm. 141-145 to the clarinets
and bassoons of mm. 3-4, it is clear that the melodic material is identical: C-Bb-A-G. It is not
until the hemiola of the trumpets in bars 171-173 that the Allegro con fuoco theme is heralded,
and the piano follows with the “retrograded” version of the theme. Bars 183-187 indicate
another juxtaposition of the two melodic ideas (see Example 2.7).
Example 2.7: Measures 183-187 from Fantasia Slava, P. 50
The bottom staff of the piano solo contains the line marked by C-B-Bb-A-D-G. The B♮
is simply a passing tone between C and Bb, while the D could be considered as applied chord
movement to G. Such considerations result in melodic material of C-Bb-A-G, which is again the
opening clarinet and bassoon statement of the entire work.
43
The next moment of interest in Respighi’s combination of the two themes begins in bar
212. Example 2.8 is a print of the two-piano reduction of bars 212-214.
Example 2.8: Measures 212-214 from Fantasia Slava, P. 50
While the clarinets constitute a clear statement of the Allegro con fuoco theme (now
under the marking Meno), the piano begins in bar 213 with Bb-A-G-D, a retrograde of the
work’s first four pitches. This combination continues in other key areas until the frenzy carries
the ensemble to measure 236.
The section including measures 240-280 is squarely based on the Allegro con fuoco
material with its equally concentrated level of hemiola and cross-rhythmic activity. The melodic
material is also remarkably similar to the Allegro con fuoco theme, which exhibits extended
arpeggiated use of the tonic triad and 6th scale degree. Likewise, if one includes the neighbor
tones, scale degrees 1-6 are utilized exclusively in measures 240-280.
44
Example 2.9: Measures 90-97 from Fantasia Slava, P. 5067 Measures 244-247 also use these identical scale degrees, but in a downward scalar
fashion versus the upward arpeggiated manner of its earlier relation.
Example 2.10: Measures 244-247 from Fantasia Slava, P. 50
The arpeggiation commences later in the section and serves to solidify the connection
with the Allegro con fuoco material.
The Lento of bar 280 reintroduces the opening key of G minor. This material is clearly
based on the opening of the work, to which a direct reference is made in bars 289-292 (see
Example 2.11).
Example 2.11: Measures 289-292 from Fantasia Slava, P. 5068
67
Ibid., 17.
45
Measure 289’s bottom staff consists of the phrase G-A-Bb, followed by the upper staff of
measure 291: C-Bb-A-G. This melodic motion is a direct statement of pitches 2-4 and 7-10 of
the original melody (reprinted in Example 2.12).
Example 2.12 Measures 1-4 from Fantasia Slava, P. 50
Measures 300-303 constitute another example of Respighi combining the two melodic
ideas. Following the repeated chords of measure 300, the piano solo continues with an
alternating hand statement of the Allegro con fuoco melodic idea, thus combining the two
concepts. The G minor melodic idea established at the Lento, measure 280, continues until the
coda, measure 317.
Fantasia Slava’s coda is largely G minor arpeggiation with a hinted emphasis at an Aug6
(see example 2.13).
68
Ibid., 49.
46
Example 2.13 Measures 317-322 from Fantasia Slava, P. 50
The second beat of each measure in Example 2.13 shows a Ebdom7 with an added 2
instead of the 3rd scale degree. The composition concludes with a definitive G Major chord.
47
CRITICAL COMMENTARY
The following critical notes outline the process of creating the above two-piano reduction
and to document discrepancies between the first edition of Fantasia Slava, P. 50 and the author’s
two-piano reduction of the work. The first edition is the orchestral score of Fantasia Slava,
copyrighted in 1986 by G. Ricordi & Co. It is with their generous permission that I based the
present edition on their first edition. The manuscript was unavailable for review.
Care has been taken to produce an orchestral reduction that is playable, yet accurately
reproduces the sound and scope of the orchestral score. On occasion, instrumental parts have
been left out so as to produce a passage that can more closely align to the orchestral realization
of the score. Performers of this edition are encouraged to look beyond the printed score to
accurately portray the orchestra. In the spirit of assisting the pianist in this daunting role,
discrete abbreviations of the orchestral instruments involved in a passage are presented within
the score and should be carefully observed so as to produce a tone consistent with the original
instrumentation.69
The author has altered pitch, rhythm, or phrase material only when the choice seemed
obvious. As an esteemed publisher, G. Ricordi & Co.’s original text was considered
authoritative in passages where the pitches were only suspect. However, those materials that
seemed clearly in error have been altered, and the following notes closely reflect such decisions.
69
The abbreviations used follow the conventions established in the first edition and are also
outlined in the LIST OF ABBREVIATIONS.
48
Adjacent to the table are critical notes regarding the author’s two-piano edition of Ottorino
Respighi’s Fantasia Slava, P. 50.
Certain syntactical conventions are necessary to communicate in reading Table 2.1. The
left-hand column represents the measure and beat at which the discrepancy or comment occurs.
When describing beats, I have chosen the quarter note as the division of pulse, which is the basis
for all meter in Fantasia Slava. In the case of a comment occurring in a division of the quarter,
the beat is designated using fraction (e.g. 2 ½ representing a comment on the fifth 8th note of the
measure). If multiple beats are affected, the ampersand symbol is utilized.
The right-hand column represents the actual comment. Many items are abbreviated in the
interest of space consideration and efficiency. Refer to the LIST OF ABBREVIATIONS for
assistance in deciphering the abbreviations of Table 2.1’s right-hand column. In the case of
communicating a small fragment, the author has used two methods to denote the difference
between single pitches and dyads, triads, and larger groups. Simultaneous pitches, regardless of
quantity, are combined with the hyphen (“-”), while consecutive pitches are separated by a
comma (“,”). These syntactical conventions established will allow the reader an efficient use of
Table 2.1.
49
Table 2.1: Critical Commentary to Accompany the Edition
Pf RH: FE A♮, BE has Ab
Pf LH: FE no bass clef prior to beat 2
Pf RH: FE 16th rests on beat 1
Pf LH: FE bass clef, BE treble clef
Pf: 8va begins on 2nd note of quintuplet
Pf LH: FE bass clef, BE treble clef
Pf LH: Bass clef
Pf RH: FE Eb, BE E♮
Pf RH: FE Gb-A, C-F, E♮, Db;
BE Gb-A, F, E♮, Db
m. 65
Vc: FE Dotted half note-8th, BE half note-8th
m. 69, bt.1
Pf RH: FE 16th rest, BE 32nd rest
m. 76, bt.3
Cl: FE A-D, BE G-D
m. 78, bt.3
Vn2, Va, Vc: FE 8th, BE doubly-dotted 8th
m. 81, bt.2 ½
Va: FE F, D, F; BE Gb, D, F
m. 89, bt.3
Pf: FE F#-E, BE F#-F#
m. 122, bt.2
Pf LH: FE A-E-F-C, BE Ab-Eb-F#-C
m. 133, bt.3
Pf RH: FE F#, BE F♮
m. 134, bt.1
Pf RH: FE F#, BE F♮
m. 153, bt.2
Pf LH: FE Db, BE Eb
m. 154, bt.1
Pf LH: FE A♮, BE Ab
m. 156, bt.1
Pf RH: FE D-Db, BE F-Db
m. 194
Orchestra: FE dotted-half rest, BE tonic resolution
m. 208, bts.2&3
Cl 2: FE F#, F#; BE Eb, Eb
m. 210, bt.1
Pf LH: FE A♮, BE Ab
m. 214, bt.1
Pf: FE dotted quarter, BE doubly-dotted quarter
m. 228, bt.1
Pf RH: FE 8th rest, BE dotted 8th rest
m. 243, bt.2 ½
Pf LH: FE nothing, BE 8th rest
m. 301&303, bts.1&2 Pf: FE 32nd rests, BE 16th rest
m. 301&303, bt.3
Pf: FE nothing, BE 16th rest
m. 325, bt.1
Pf RH: FE Bb-D-F-Bb, BE Bb-D-G-Bb
m. 326, bt.1
Pf RH: FE G-D, G, Eb, Bb; BE G-D, Bb, G, D
m. 34
m. 37
m. 41-4
m. 44-6
m. 54
m. 56
m. 57
m. 61, bt.1
m. 63, bt.2
50
Fantasia Slava
for piano and orchestra
Solo and Piano Reduction
Ottorino Respighi
Orchestral Reduction by J. Bradley Baker
1
Piano I
(Solo)
b 3
&b 4
∑
∑
∑
∑
∑
∑
? b 3
b 4
∑
∑
∑
∑
∑
∑
Andante
b 3
&b 4 œ œ œ
p [Cl., Fg.]
? b b 43 œ œ œ
Andante
Piano II
(Reduction)
7
Pno. I
7
Pno. II
œ
œ
œ
œ
œ
œ
œ
œ
œ # œœ
œœ
œ
˙˙ ..
˙.
œ
œ
,
˙.
˙.
œ
œ
œ
bœ
œ
œ
œ
œ
œ
bœ
œ
œ
b
∑
∑
∑
∑
∑
∑
? bb
∑
∑
∑
∑
∑
∑
&b
&
bb œ b œ
? bb
œ bœ
b œœœœ
œ
œ
˙.
b ˙˙ ..
˙.
˙.
,
bœ
œ
œ
bœ
œ
œ
bœ
b œœ œ ˙
b œœ œ ˙
œ
51
œ
œ
œ
œ
œ
œ
# œœœ œ ˙
# œœœ œ ˙
&b
13
Pno. I
b
∑
? bb
∑
b
&b œ
13
Pno. II
&
? bb
&b
17
Pno. II
Pno. I
b
quasi Cadenza
œœœœœ
œœ
? b
b
œœœœœ
œ
&
œœ
œ
#˙
b œœ
œ
b œœœ
b
& œ
&b
b
? bb
œ œ œ
bœ
˙.
p
j
[+Cn.]
œ œ
bœ.
˙.
œ
n n œœ
b œœ
œœœœœ
œ
∑
∑
√
œœœœœ
œ
œ
œœ
œ
∑
∑
œ œœ
œ
œ
?
œ
œœœ
œ
œ
∑
44
∑
44
52
#œ
œ
œœ
˙
œ
√
œœœœœ
œ
œ
œ
rit.
44
4
4
œ˙
œ
∑
?
Œ
n œœ˙
œ
p
Œ
√
œœœœœ
œ
œ
œ
∑
(√)
19
œœœœœœœ œœœ
bb
œ
œœœœ œœœ
&
œ
œœœœ
19
Pno. II
œ
œ
œœ
œœ
œ œ œ
œ œœ b œ
? bb œ
bb
∑
∑
[Ob., Cl., Fg.]
17
Pno. I
∑
œœœ
œ
œœœ
œ
œ
œ
œœœ
œ
œ
∑
∑
œ
œœœ
œ
œ
œ
œ
œ
œ
? b gggg œœ
b gg
ggg
ggg
gg
g
? b b gggg œ
gg œ
ggg œ
gg œ
21
b
&b
21
Pno. I
Pno. II
&
p
& œœ
>
? b
b
b
&b
24
>œ
œ
œ .. œ >œ
œ .. b œ œ
œ .. œ œ . œ œ . œ œ œ œ œ œ œ
œ .. b œ œ . œ œ . œ œ œ œ œ œ œ
œ
œ
œ .. œ œ ..
œ .. b œ œ ..
>
œœ œœ
œ .... b b œœ œ
œ
œ
>
œ .... b b œœ œ .. œœ œ .. œœ œ œœ œ œœ œ œœ
œ
œ œ œ
œ
œ
œ
œ
œ .... b b œœ œ ....
œ
œ
œœ œ
œ
>
3
3
∑
∑
∑
∑
∑
3
3
3
3
f
3
3
3
3
&b
b œ bœ bœ
œ œ œ
œ œ œ
œ œ œ
œ œ œ
œ œ œ
b
œ
œ
œ
œ
œ
œ
w
&b
b
∑
? bb
∑
24
3
b
&b
25
Pno. I
&b
&b
25
Pno. II
3
b œœ b œœ b œœ n œ œœ œœ b œœ n œ œœ œœ b œœ n œ œœ œœ b œœ n œ œœ œœ b œœ n œ œœ œœ b œœ n œ
œ
œ
œ
œ
œ
œ
Pno. I
Pno. II
3
b œœ
b œ
œ
b
3
√
œ œ œ
3
œ
œ œ œ
.
œ œ bœ
œ
œ
3
œ
œ œ œ
?œ
3
œ bœ œ œ
b œ.
œ œ œ
∑
? b
b
∑
53
3
œ
3
œ œ œ
œ
3
œ
? bœ
bœ
œ œ œ .
œ œ
œ
bœ œ œ
? b
b
26
Pno. I
? bb
&b
26
Pno. II
b
œ
œ
œ œ
œ
œ
bœ.
b œœ b œ .
bb
b ∫ œœ b b œœ ..
&
&b
28
b
œœœ
œ
œ œ
œ
∑
gg b b œœ b b >œœ
ggg b œ &
œ
ggg
ggg
gg
ggg
ggg b œ
gb œ & bœ
œ œ ggg b b œœ b >œ
œ √
œœ .... œ >œœ
bœ
∑
∑
bb œœ ....
&
Pno. I
œœœ
œ œ
œ
? bb
28
Pno. II
œœœ
rit.
œœ ..
..
œœ
œ ..
œ
œœ œ .
œ.
œœ œœ
œœ
∑
œ
œ
3
œœ œ
œ
œœ
3
œœ
œœ
œœ
œ
œ
3
3
œœ
œœ
bœ
bœ
œ ....
œ
œ ..
b œœ œ ..
>
œœ œœ
œœ
b b œœ
œœ .. b ∫ œœ œœ ..
..
..
œœ œ
œ
>
∑
? bb
œœ .. b ∫ œœ œœ
..
>
∑
∑
∫ œ
œ
œ
œ
œ
œ
b b œœ œ b œœ b n œœ b œœ œ b œœ n œœ œœ œ b œœ n œœ œœ œ b œœ n œœ œœ œ b œœ n œœ œœ œ b œœ n œœ
b
&
30
3
Pno. I
3
f
3
3
3
3
3
b
& b bb œw b œ b œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
3
3
3
3
b
∑
? bb
∑
&b
30
Pno. II
3
54
3
3
3
3
U̇
œ
œ
œ
b
œ
œ
œ
b
œ
n
œ
b
œ
n
œ
b
œ
n
œ
œ
œ
œ
b
œb œ œ œ œ œ œ œ ˙
œ
b
&
31
3
Pno. I
3
3
? bb
∑
b b œœ b b œœ
b
&
b
& b bœ
˙.
b
& b bœ
œ
33
b
&b ‰
Pno. II
F
? b j
b œ
œ
>
36
b
&b
? b
b œ
b œœ
bœ
œ
œ
œœ
œ
œ
bœ
? b ˙.
b
36
Pno. I
3
∑
33
Pno. II
3
b
&b
31
Pno. I
f
3
b
& b bb œ˙ œ œ n œ œ œ œ œ œ œ œ œ ˙˙
3
Pno. II
3
u
œ
bœ
œ
˙
˙
3
4 Œ
˙
3
œ œ bœ
œ bœ œ
œ
bœ
˙.
œ
‰
Œ
3
3
œœ
œ
œ
œ bœ
bœ
3
œœ # b œœ
œœ b œœ
œ bœ
˙.
œ
œ
œœ œœ
œ
œ
˙.
˙.
3
∑
3
bœ
b œœ.
œ
n
œ
b
œ
n
œ
b
œ
3
bœ
œœ b œœ n œœ œœ œ œ œ
œ
n
œ
b
œ
n
œ
b
œ
n
œ
œ
n
œ
œ
b
œ
œ
œ
œœ œ œ
3
3
3
f
œ
b
œ
œ
œ œ œ bœ
œ.
œ nœ
œ
b
œ
n
œ
œ
bœ
&
œ
œ
b
œ
3
3
3
œ bœ œ œ bœ œ bœ œ œ
bœ œ œ
œ
3
43
œ bœ bœ
˙.
œ
3
43 Œ
œ
p [Cl., Cn.]
˙.
43
b b œœ
?
b œœ œœ œœ b œœ b œœ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ
3
Œ
‰
^ b œ^ b >œ > >
œ œ
?œ
3
‰
?
œ bœ bœ œ œ
œ bœ bœ œ œ
v v > > >
∑
3
∑
55
? b œ
b
38
œ
#œ
& n œœ
œœ
3
# œœ
n œœ
Pno. I
? bb
&b
38
Pno. II
b
œ
œ
œ
&
3
œ
œ
#œ
œ
œœ
# œœ
# œœ
3
3
œ
# œœ
n œœ
3
œ
œ
œ
3
œ
œ
œ
œ
œ
3
œ# œ œ œ
bœ
2
n œ # œ œ œ œb œ œ œ œ œ œ 4
ƒ
n œ n œ b œ œ # œ n œ n œb œ
. √
œ
œ b œ œ# œ n œ b œ œ œ 2
bb œ ‰ œ b œ œ# œ n œ n œ b œ œ # œ n œ n œb œ n œ b œ œ # œ n œn œ b œ œ # œ n œn œ b œ œ b œ ?
&
œ# œ
4
b
∑
? bb
∑
&b
b 2
? ®œ œ
&b 4 œ œœ œ œ œœœ œ œœœ œ œœœ
? b 2 œ bœ œ #œ nœ bœ œ œ nœ bœ œ œ nœ bœ œ œ
b 4
b
& b 42
40
Pno. II
œ
œ
#œ
∑
40
Pno. I
n œœ # # œœ # œœ n œœ
∑
? b
b
39
Pno. II
n œœ
# œœ
3
(√)
œ
bœ œnœ œ œ œ œ œ œ
bœ
œ. œ œ œ œ # œ œ œ
39
bb # œœ ‰
n œ# œ œ
œ œ œ œ œb œ œ
&
Pno. I
œœ
√
? b 2
b 4
∑
f
2
4
42
#œ œ œ œ #œ œ œ œ œ
14
œœ^
œ
œ
>
∑
56
œœ & ®
^
œœ
œ œ #œ œ œ
14
œ #œ œ œ œ œ
^
& œœ
∑
∑
∑
∑
œœ
?
√
Ÿ~~~~
˙
#
œ
#
œ
43
œ
œ
œ
œ
œ œ œ œ ® œ #œ œ œ
œ œœœ
b ® œ #œ œ œ
œ œ
œ
&b œ
2
14
Pno. I
œœ^
^
œ
œ
f
œœ.
√
œœ^
? b œœ^
b
&
b
∑
∑
∑
? bb
∑
∑
∑
&b
43
Pno. II
14
‰Œ
Ÿ~~~~~~~
˙
˙Ÿ~~~~~~~
œœ.
‰Œ
dim.
∑
˙Ÿ~~~~~~~
∑
?
43
3
4
œ œ
3
œ
# ˙œ˙ œ . œ œ # ˙˙ œ . œ œ # ˙˙˙ . œ œ 4
Ḟ [Winds]
˙
˙
43
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~
7
˙
œ œ œ#œ œ œ œ œ œ œ œ œ #œ
49
b
œ
n
œ
œ
b
œ œ
œ œ œ œ œ œ œ
& b 43
œ œ
7
7
6
p
leggiero
Pno. I
? b b 43
Pno. II
51
51
&
Pno. I
bb
&b
œ
‰
[Vc.]
‰
&
œ œœ
œ
œ
œ
œ
Œ
Œ
œ˙
˙
œ
Œ
œ
Œ
œ
œ
3
7
œ œ œ
œ
œ
?
#œ œ œ œ œ œ œ
œœ
œ #œ œ œ œ œ œ
7
j
#œ
b
? bb
œ
œ
œ
# œœœœ
œ œ #œ œ
œœ
œ
œœ
˙˙..
57
?
œ
5
œ œ #œ œ
œ œ œ œ
5
œ
‰
œœ
œ
∑
7
? b œ˙
b ˙
51
Pno. II
œ
b 3
& b 4 œœ
œ
J
p
? b b 43 œœ
œ
49
œ
3
5
# œœ
Œ
œ
œœ
π
&
&
[Winds, Vc.]
&
&b
53
53
Pno. I
&
bb
(√)
&
Pno. I
# œœ
œ
œ
# œœ
œ œ5 œ œ
# œœ
œ
˙.
˙.
˙.
˙˙ ..
˙.
˙˙ ..
π [Winds, Strings, Vc.]
˙˙
œ # œ5 œ œ
5
œ œ œ œ
œ œ5 œ œ
œœ
œ
5
œ œ œ œ
œ
œ œ
Ó
3
œ œ
œ
U
√
œ
‰
U
‰
˙.
˙
˙
œœ U
j ‰
œœ
˙
bb ˙˙ ...
&
˙.
˙
˙˙
˙
˙
œœ
œœ
Jœ
J
&
bb
?
3
˙.
55
55
Pno. II
bb
b
&b
œ œ œ œ
˙˙ ..
b
&b Œ
55
55
œ œ #œ œ
œ #œ œ œ
b
& b # œœ
53
53
Pno. II
b
5
œ œ #œ œ
5
5
5
√
˙˙ ..
˙˙
58
U ?
‰
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~
˙
œ œ bœ bœ œ œ œ bœ œ œ œ œ
57
nœ œ nœ œ bœ bœ œ œ œ bœ œ bœ œ œ
b
œ
b
&
7
Pno. I
bœ
? b
œ
b œ
3
b
‰
& b b œœ
œ
- [Vc.]
? b
‰
b œ
57
Pno. II
3
&
œ
œ
7
b œ œœ
b œœ
Œ
Œ
Œ
Œ
œ
-
œ
-
6
7
b ˙˙
œ
b˙
œœ
b œ-
œ-
œ-
∑
bœ bœ œ
b œ œ b œ œ œ œ ≈ b œ œ œ œ œ ≈ n œ œ œ œ b œ ≈ œ b œ œ œ
bœ
œ
& b ≈
œ nœ
b œ ≈ n œ œ n œ b œ œ b œ ? ≈ n œ œ
7
59
59
7
Pno. I
&
bb
b Œ
b
&
œ
-
? b
b
Pno. I
? b
b
&b
61
61
Pno. II
b
‰
bœ
-
n œœœ
œ
‰
Œ
œ bœ nœ œ
œ
b
&b Œ
˙.
‰
œ nœ bœ œ
b œœ
b œœœ
‰
˙.
œ
œ
b œœ
b œœ
‰
Œ
‰
Œ
b œœ
˙˙ ..
˙.
œ
5
œ bœ nœ œ
œ nœ bœ œ
&
[Winds, Vc.]
59
‰
5
Œ
b œœ
bœ
œœ
œ
‰
&
∑
Œ
?
b œœ
œ
5
œ bœ nœ œ
5
5
7
7
b n œœ
Œ
? bb Œ
61
61
7
œ
b œœ
˙.
59
59
Pno. II
7
œ
b ˙˙
‰
&
œ n œ5 b œ œ
b œœ
&b
63
Pno. I
5
œ bœ nœ œ
b
œ n œ5 b œ œ
b œœ
b
&b œ
5
œ œœ œ
b œœ
œ
˙.
b˙.
bb ˙˙ ..
&
π [Winds, Strings, Vc.]
63
Pno. II
&
bb
b˙.
˙.
˙˙˙ ..
.
œ n œ5 b œ œ
5
œ œ œ œ
√ œ
U
œœ
‰
œ n œ5 b œ œ
3
œœ
œ
3
œ
œ
¤€
œ‰
bœ
˙.
˙˙ ..
b˙.
˙
˙˙
b˙
œœ U
œœ ‰
J
b˙.
˙.
b˙
˙
œœ
j
œœœ ‰
J
˙˙˙ ..
.
˙˙˙
œ b œ œ b œ œ œ œ b œ b œ ∫ œ œ œ
œ bœ
®
leggiero
&b
b
∑
&b
b
∑
66
Pno. I
bb b œœ
&
66
Pno. II
œœ
œœ
ggg bn œœ
gg œ
J
b œ˙ .
p [Strings]
bb b œœ &
b œ œ œ œœ œ b ˙˙ ..
∑
œ nœ
œ
˙
œ.
‰
∑
b œœ
œœ
?
œœ
b œœ œ œ b œ œœ œ
60
&b
69
Pno. I
b ® œ bœ œ bœ œ œ
œ b œ b œ ∫ œ œ œ œ b œ
œ
? b b œœ
b J
œ nœ
b
& b b œ˙ .
œ
69
Pno. II
&
bb
&b
72
Pno. I
b
? b
b
˙
˙˙ ..
œ
œ œ bœ
13
dolcissimo
œ
œœœ œ
bœ
œœ
b
& b œ˙ .
π
? b b b œ˙ ..
œ
&
œ
b œœ
j
œ
bœ
œ œ
b
& b 44
∑
? b b 44
∑
œ ..
bb 4 œ ..
& 4
œœ œœ ..
b 4 œ ..
& b 4 œ ..
œœ œ .
œ.
75
Pno. II
3
œœ‰
75
Pno. I
œ?
72
Pno. II
‰
œ.
œœ œœ ..
œœ œœ
‰
?
œœ œ
œ
œ œ
œ #˙
œœ
-
œ
œ
&
p
œ
œ
œœ
œ
p [Fl., Cl.]
œœ
œ
œ
∑
œœ
œ
œ
œœ
œœ
3
œ
œ
∑
4
4
&
œ ‰
Œ
œ ..
œ ..
œœ ‰
œ
œœ ....
œ ‰
œ
œœ
œ
œ
3
61
?
œœ œœ
Œ
œœ
œ
œ
œ ..
œ ..
œœ œœ ....
œœ œœ
œœ
œ
œ
œ ....
œ
œœ œ ..
œ ..
œœ œ
œ
4
4
4
4
œœ œ
œ
Œ
3
œ
œ
œ
œ
œ
œœ
œ
œ
3
œœ œ .
œ.
∑
œ
œœ
œœ œ
#œ
n œœ
˙
∑
œœ œ œ
œ œœ b œ b œœ n n œœ b œœ
>œ ..
œ˙
∑
œœ
-
œ œ # œœœ œ œ
œœ
‰ œ
œ
∑
44
P [+C.i.]
œ
J
b
∑
∑
? b
b
∑
∑
&b
77
Pno. I
77
&
Pno. II
bb
3
3
3
3
3
3
3
3
3
3
3
3
3
3
∑
? b
b
∑
∑
œœ .. œœ œœ . œœ ®
..
. ≈ .
œ
?œ
œœ .. œœ œœ
..
[C.i., Strings]
3
∑
? b
b
œ œ œ œ œ œ. œ œ œ œ œ
3
3
œ œ
œ œ
œ œ nœ #œ œ œ nœ bœ œ œ œ nœ œ œ bœ nœ œ œ bœ bœ
&œ œ
œ œ œ œ #œ
œ ..
œ ..
nœ œ
œ
3
3
3
3
3
3
3
3
3
3
[C.i., Strings, Vc.]
œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œœ œ œ œ œ œ œ b œ œ œ œ œ
b œ
..
?
b
œ œ œ œ œœ .. œ œ œ
& œ œ. œ œ œ. œ œ. œ
3
3
3
3
3
3
3
3
3
3
b
∑
? b
b
∑
&b
81
Pno. I
3
b
&b
79
Pno. II
π
œœ
b œ # œ n œ n œ œ # œ n œ œ œ # œ n œ œœ œ # œ n œ œ œ # œ n œ œ œ # œ n œ œœ œ
b
& œ
œ ..
œ
œ ..
œ
79
Pno. I
œ œ œ #œ œ œ nœ #œ œ œ nœ #œ œ œ nœ #œ œ œ nœ #œ œ œ nœ #œ
b
& b œœ b œ b œ n œ œ œ b œœ .. n œ œ œ b œ n œ œœ˙ œ œœ œ œœ œ œœ œ œœ œ œœ œ
œ
81
3
3
3
3
3
F
Pno. II
3
3
3
? b œ b œ œ b œ œ œ œ .. œ œ œ œ œ œ˙ œ œ œ œ œ œ œ œ œ œ œ
b
œ
3
3
3
3
62
3
3
3
3
&b
82
b
f
Pno. I
? bb ^
œ
œ
b
& b œœœœ ‰
œ
J
f
? b œ ‰
b
82
Pno. II
&b
83
Pno. I
œ
œ #œ œ œ
œ œ
&œ
#œ œ œ
œ
œ
Œ
Ó
Œ
Ó
ƒ
(√)
# œœ n œœ œœ œœ ˙ .
n
#˙.
b
√
b #œ œ œ œ Œ
b
&
b ˙˙˙ ...
Ó
œ œ œ
#œ œ œ
œ œ œ œ œ
œ œ
œ œ
Presto
œœ œ # œ œ œœ œ n œ œ œœ œ # œ œ œœ œ n œ œ
œ
œ
3
œ
œ
œ
3
œ
œ
b
&b
U
∑
∑
? b
b
∑
∑
83
Pno. II
√
œ
œœ # œœ n œœ
n
œ
œ
œ
œ
œ
#
œ
œ
œ
#
œ
œ
œ
n
œ
#
œ
n
œ
#
œ
œœ œœ œ b œ n œ
n œœ œœ # œœ n œœ œ b œ n œ
œ
#
œ
œ
#
œ
n
œ
#
n
œ
b
œ
n
œ
œ #œ œ œ
# n œœ œ œ
63
3
œ
œ
œ
3
œ
œ
?
(√)
Allegro con fuoco
œ
œœ œ # œ œ œœ œ n œ œ œœ œ # œ œ œœ œ n œ œ œœ œ # œ œ œœ œ œ œ œœ œ œ œ n œœœ
œ
85
bb
nn # 3 œ œ œ. œœ
‰
&
4 œ œ
Pno. I
? b
b
3
œ
. œ œ œ.
# œœ œ œ
&
œ
œ œ œ.
œ œ
? # œœ ˙˙
œ ˙
˙
˙
˙
#
?#
96
&
#
?#
∑
∑
∑
∑
∑
∑
∑
.
œ. n œ œ œ
# nœ œ
& œ
œ ˙
? # œ n˙
œb ˙
œ œ
œ
œ
3
∑
∑
∑
∑
∑
œ
œ
œ
n n # 43
∑
.
œ ˙ œ
œ
œ ˙
œ
œ ˙
œ˙
œ
œ
œ œ œ.
œ œ
b˙
n˙
b˙
ƒ
3
3
3
˙
œ
n # 43 ˙
‰
œœ
n
œ
˙
œ œ
œ œ
œ œ
œ
œ
œ
œ œ
Allegro con fuoco
# 3
n
∑
n 4
∑
œ.
œ œ œ œ œ œ œ œ. œ œ œ. œœ œœ
œ
œ œ œ œ
œ
œ
œ
∑
96
Pno. II
3
∑
&
Pno. I
3
? bb
88
Pno. II
œ œ œ
∑
88
Pno. I
œ œ
b
&b
85
Pno. II
œ œ
ç
.
œ
œœ
œ˙
.
œœ
œ
˙˙
˙˙
œ
œ.
˙
˙
˙
˙
∑
∑
∑
œœ
œœ œ œ.
œ
œ œ
∑
∑
∑
œ
f
∑
Œ
∑
œœ
œœœœœ
[Tutti]
∑
Œ
3
3
∑
3
∑
∑
œ b œ œ œ. œ b œ
bœ œ œ
˙
nb ˙˙
œ
œœ
œ œœ œœ œœ œœ
œ œ œœ
ƒ
^ ˙˙
œ
œ
∑
∑
∑
∑
Œ Œ œ ˙
œ
œ
œ b œ œ œ > b œ b œ œ. œ œ œ. b œ n œ œ. n œ
.
nœ
œ
œ
œ b œ œ n œ # œ œ ˙˙˙˙
Œ
∑
b
œ
œ
nœ
#œ œ
.
.
œ ˙
.
œ
b
œ
œ n˙
˙
b
œ
b
œ
Œ
∑
œœ
œ.œ ˙˙˙˙
œ b˙
b œ˙ n œ
œ ˙˙
œ˙
64
104
&
Pno. I
#
∑
?#
∑
&
Pno. I
&
3
œ
œœ
œ œ ˙
œœœœ˙ ˙
∑
∑
∑
?#
∑
∑
&
#
œ
œ œ œ
œ. œ.
? # n b ˙˙˙
b˙
œœ
œœ
√
˙
œ
œ
˙
œœ ˙œ
œ
œ
œ
œ
œ
œ œ
œ œ
.
.
.
.
F cresc.
˙
œ
œ ˙
˙
˙˙˙
œœœ œœœ ˙˙˙
˙˙˙
.
œœ
œ
˙
˙
˙
˙
œ. U
˙ ˙ œ‰
ß
U
˙ œ‰?
˙ ˙ œ.
œ
n œ b œ œ œ b >œ
nœ
œœ b b ˙˙
œœ
˙
œ
œœœ
œ
œœœ
˙
˙˙˙
˙
œ
œ
œ œ œœ
.
f cresc.
˙˙
˙˙
&
œœ
œœ
∑
∑
∑
∑
∑
∑
∑
∑
∑
4
√
œ
œ
# œœ œ œœ œ
# œ œœ
œ
3
3
#œ
& œ
∑
# œœ
∑
3
√
œ
ß
bœ
bœ
∑
√.
b
b œœ
bœ ‰ Œ Œ
‰ Œ Œ b b œœœ. ‰ Œ Œ
œ
∑
f [Winds, Cr.]
b
˙
œœ
Œ œ̄ œ̄ b ˙
˙
œ
bœ bœ œ
bœ œ
œ ˙
œœ b # ˙˙
œ b ˙
œ
œ
œœ
œ
œ
œ n œ œ œ œ^
œœ n œœ œ œ
œ œ œœ
˙
˙
˙
œœ
œ
n œœ
œ
∑
∑
∑
œ œ
œ. œ
v
∑
∑
∑
∑
∑
65
∑
?
∑
. b œ œ œ.
bœ nœ œ œ bœ œ bœ œ
b œ œ. œ œ
[Tp.]
∑
œ œ œ bœ nœ
œ œ bœ
f
œ
b # ˙˙ œœ
b ˙
œ
œ
œ ˙
œœ œ œœœ
.
.
∑
∑
∑
119
œ
œœ
ƒ
∑
&
Pno. II
∑
#
119
Pno. I
∑
œ œ ˙
œœœœ˙ ˙
∑
?#
∑
f
˙
˙˙
# œ ˙
& œœ ˙˙
œ ˙
#
∑
.
œœ œ œœ œœ œ œœ œ œ œœ
œ œ œ œ œ
(√)
œ ˙
112
# œ œœœ
& .
.
112
Pno. II
œœ.
œ
˙
? # œœ
œ ˙
104
Pno. II
œœ.
œ
œœ
# œ
œœ b b ˙˙
œ ˙
∑
∑
.
b œœ œœ œœ œœ œœ
˙
œ
p [Fl., Cl., Cr.]
œ˙ œ œ œœ œ
126
&
Pno. I
#
.
√ .
œœ œœ b œœ œ œ œ.
œ bœ œ œ nœ
œœ b œœ œœ b œ
∑
?#
∑
&
p leggiero
œœ # œ n œ œ b œ œ b œ œ
œ bœ œ bœ
# .
& œœœ œœ˙ œœ œœ œœ b ˙œ˙ ..‰
Œ
√
œ. œ. œ.
b
œ
œ
œ
œ
?# œ ˙
˙˙ ..
126
Pno. II
Œ
œ. œ.
&
131
&
Pno. I
&
Pno. II
&
135
&
&
. .
œ œ œ.
œ
J
#
#
#
?#
135
Pno. II
œœ œ n œ œ b œ œ
?#
131
Pno. I
œœ b œœ œœ b œ n œ n œ
œ œ
#
#
œ
œ
J
‰
œ ‰
œ.
√
œ
œ œœœ
œ
œ
œ
ƒ
œ
œ
v
?# œ ‰ Œ
œ.
œ œ
3
3
3
œœ
∑
œ
∑
∑
Œ
∑
&
Œ
∑
bœ ‰ Œ
bœ
J
.
.
.
b
œ
b
œ
œ
n œ œ b œ œ b œœ b œœ b n œœ b œ b œ b œ œ
œb œ œ
p
b b ˙b œ˙ .. œ œ n œ œ b œ
>
b œ.
b œ.
[Winds, Strings]
œœ.
b œœœ œœœ œœœ œœœ
œ ‰
œ bœ œ bœ œ bœ œ
œ bœ œ bœ bœ œ bœ
3
b œ.
b b ˙˙ ..
b ˙˙˙ ...
66
Œ
Œ
? bœ
.
bœ
.
b ˙˙˙ ...
dim.
˙.
[+Tr.]
∑
∑
3
3
œ œ œ œ
˙.
œ
œ
œ
œ
œ
˙.
b œœ ‰ Œ
Œ
œ.
√
˙.
˙.
˙.
˙.
p [Tmb.]
?
b n œœ b œ b œœ b b œœ œœ œ n œ
b œ.
b b ˙˙ ..
˙˙ ..
∑
œ œ œ nœ œ bœ
œ. œ. œ
.
[+Tr., Tp.]
3
Œ
b œœ b œœ b œœ
œ b n œœ b œœ
bœ œ œ bœ œ bœ
[+Fl.]
b n ˙œ˙ ..
J
œ œ œ
œ. œ. œ
.
b n œœ œ b œœ œœ œœ n œ
. .
œ œ
[+Ott.]
œ.
.
bœ
œ ‰ Œ
J
&
˙.
P
b ˙˙˙ ...
˙.
˙.
˙.
nb
˙.
˙.
˙.
˙.
˙.
n
b
nb
n
b
(√)œ œ
œœœ œœœ œœ œ œœ œ œœ œ œ œ
141
œ œ œ œœ
&b
Più Vivace
p
Pno. I
&b
&b
141
Pno. II
˙^
˙^
œ.
Più Vivace
p
˙˙^
˙
&b
∑
œœ.
œ
˙˙^
˙
(√)
b œœ. œœ. œœ.
b
& œ œ
b œœ.
œ
[Ob., Cr., Tr.]
148
Pno. I
. œ. b œ. œ.
b
œ
&
&b
∑
?b
∑
148
Pno. II
b œ.
œ.
∑
œœœœœœ
œ œ œœ
. .
œ. œ œ
.
œ. œ œ.
œ.
œœ.
œœ
.
b œœœ
.
œœœ
[+Ott.]
b œœ.
œ
b œ.
n œ.
∑
œœ. œ.
œ œ
œ
b œ. œ.
∑
∑
b œœ.
œ
&b
156
Pno. II
?b
b œ.
∑
∑
n œ.
b œ.
œœ. œ.
œ œ
∑
b >œ ‰
b œ.
∑
∑
œ.
b œ.
.
œœœ
.
n œœœ
œ ‰
b >˙˙
b˙
Œ
b œœ.
œ
f
∑
5
œœœ
œ
.
b œœ
œ
b œ.
œ
œ
.
.
bœ
>
∑
∑
b˙.
?
œœ. b œ.
œ bœ
.
b œ. bb œœ
& b œ.
.
b œœ
œ
œœ. b œ.
œb œ
b œ.
dim.
∑
∑
b œ.
∑
∑
∑
∑
∑
∑
∑
&
∑
>
.
˙˙
œœ
œœœœœœ
. . .
œœ œœ b œœ
œœœœœœ
b ˙˙ ..
>
˙˙
p [Tutti]
67
œœ
b œ.
∑
?
. . .
œœ œœ b œœ
œœœœœœ
b ˙˙
>
œœ
œ.
∑
3
œ.
b œœ.
bœ
p leggiero
œ
œ
œœ
b œ œ. ?
bœ
b œ.
œ. b œ b œ. b œ
.
bœ
>
∑
∑
∑
∑
.
b œœœ
b >˙˙
˙
bœ nœ
b œ. b œ. n œ.
(√)
bœ œ œ bœ œ bœ œ œ bœ œ
b
œ
b
& œ b œ b œ b œœ b œ b œ b ˙˙
.
& b bœ
œœ. œœ. œœ.
œ
.
n œœœ
156
Pno. I
.
œ. œ œ.
>˙˙
˙
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j .
˙.
˙.
˙.
nœ œ
œœ
J‰Œ Œ
œœ. œ.
œ œ
b œ.
œœœœœœ œœœœœœ
œ
bœ œ œ
.
œœ
œœ
b ˙˙
>
œœ
œ œ.
3
‰&
. .
œœ b œœ
œ œ œœ
œœ
&b
163
3
œ.
œœ œ
3
œ
‰ bœ œ
&b
bœ œ œ
. . .
>
163
œœ œœ b œœ
˙
& b œ œ œ œ œ œ œ˙ œ œ
Pno. II
&b
3
3
3
Pno. I
b ˙˙
>
œœ
√
gg # œœœ n œ œ œ œ œ œ g # œœ œ œ œ œ œ
œ
œ.
œ bœ œ
?
b˙
˙˙
.
nœ
˙˙
.
# >˙˙˙
œœ.
œ
# œœ.
‰
Œ
3
p
>
œ œ œ ˙˙ ..
œ
J
.
˙˙
œ
œœ.
œ œ # œœ œ œœ œ œ œ # œœ œ œœ œ
#œ
#œ ‰
œœœ.
œ.
. .
# œœ n œ œœ
œ œ
œ
œ
˙>˙
œ.
?
œ.
.
.
#
œ
œ
œ œœ œ œœ n œ
.
œ. œ
.
œœ
œ
˙>˙
œ
œ
.
œ
œ œœ œ
œ
œ
(√)
œ œ œ
œ œ œ
œ œ œ
œ œ œ
œ œ œ
œ œ œ
œ # œœ œ
œ # œœ œ
œ # œœ œ
œ # œœ œ
œ # œœ œ
œ # œœ œ
b
& #œ
œ #œ
œ
œ
œ #œ
œ #œ
œ
#œ
#œ
169
Pno. I
? b œ.
π
œ.
œ.
œ.
œ
œ. .
. . .
>
169
#
œ
œ
œ
œ
œ
& b œ n œ œ œ œœ œ # ˙˙œ œ œ Œ
œ
Pno. II
?b
˙>˙
œ
œ
˙>˙
œ #œ
dim.
˙˙ ..
-̇ .
˙˙ ..
-̇ .
œœ œœ œœ œœ œœ œœ œœ œœ œœ
fl . . fl . . fl . .
p [Tr.]
œ. ‰ Œ Œ
∑
68
˙˙- ..
˙.
&
œ.œ œ.œ œœ
>
∑
˙˙ ..
-̇ .
˙˙ ..
∑
&
√
(√)
Pno. I
.
.
.
œ
œ
œ
œœœ
175
# œœ n n œœ œœ b œ # œœ # œœ n # œœ b œ œ # œ n œ # œ ‰ œ œ
nœ
Œ
&b
.
Œ
œœœ
œ œŒ
œ #œ nœ #œ nœ œ
b
& œ
Œ
.
& b ˙˙ .
p [Ob., Strings]
œ.
œ.
œ.
&b
175
Pno. II
bœ œ #œ nœ nœ bœ
?
œ.
3
.
b
Œ
& n # œœ œ œ œ
‰
n œ b œ œ # œ n œ # œœ œ œ œ
J œ œ
? b bœ œ #œ nœ nœ bœ
&b
∑
180
Pno. II
?
b
œ.
œ.
œ.
œœœ
œ. ‰ Œ
œ
œ-œ
cresc.
œ ‰Œ
œ
œœ
3
.
œ
œ œ œ nœ œ
œ œ # œ n œ œ b œ # œœ # œœ
Œ
?
œœ # œ n œ # œ n œ œ
.
.
.
œ
œ
œ
# œœ n n œœ œœ b œ # œœ # œœ n # œœ n œ b œ œ # œ n œ # œ ‰ Œ
J
.
œ.
œ
œ.
180
Pno. I
3
√
˙˙ ..
œ.
3
[Winds]
3
œœœ
œ œ
Œ
&
œ #œ nœ œ
Œ
3
œœœ
œ œ
œ
œœ
Œ
bœ œ #œ nœ nœ bœ
Œ
f
œœ œŒ
œ œ
3
œ nœ œ ‰ œ
œœ n œœ œœ œœ
.
.
.
n
œ
Œ
œ
œ
œ
# œ n œ œ b œ # œœ # œ n # œœ œ œ œ
‰
nœ bœ œ #œ nœ #œ
.
p [Ob., Cl., Fg., Cr.]
œ œ #œ nœ œ bœ œ #œ nœ nœ bœ œ ‰ Œ
.
œ.
69
.
œœ
J
.
[Strings]
Œ
.
œ
.
œ
?
3
œœœ
œœœ
œ
œ œŒ œ œ Œ œ œŒ
œ œ
3
3
Œ bœ Œ
b œœ
^
œœ
œ
œ Œ
œœ
Œ
∑
∑
Œ
∑
∑
√
œœœ
186
&b œ œŒ
6
œœ
œœœ
œ œ n# œ ‰ Œ Œ
3
Pno. I
&b
?b
Pno. II
f [Strings]
˙
œ
œ
n # ˙˙
œ
œœœœ
3
œ
^
œ
œ
?#
œœœ œœ
œ œœœ
3
3
3
ƒ
3
œœœœœ
œ
œ
œ
œœœ œ
3
œ œœœ
v
œ
193
>˙
# œ œ.
œ.
˙˙˙
Œ
&
œ œœ
3
3
199
&
Pno. I
&
199
&
#
#
#
3
œ.
œ
˙
?# ˙
˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ . .
œ œ œ
œ œ
œœœœ^
œ
œ
. œ œ œ.
# œ œ œ. œ œ œ œ œ
n œ œ œ œ
∑
?#
∑
Tempo I
193
Pno. I
n# œ ‰ Œ Œ
œ
Œ
∑
186
Pno. II
3
^
œœ
œ
?b Œ
Tempo I
>˙
˙
œœ b œœ œ œ >
n œ b œ œœ
3
˙
˙
˙
œ ˙
œ ˙
œ ˙
&
n n œœ
∑
œœ
b œœ n œœ b œœ b œœ œœ œ
œ
œœœœœœœœ
b œ.
n
œ
œ. .
.
nœ œ œ bœ œ ‰
bœ
3
3
3
3
3
∑
bœ
œ.
f
œ bœ
.
p
.
n œ. b œ
&
∑
∑
∑
∑
∑
∑
∑
∑
. b œ n œ œ.
b œ b b œœ œ. n œœ b œœ n œœ œ œ œ
œ
œ
bœ
œ ˙ œ
œ ˙
œ ˙
. n œ œœ œ.
b
œ
.
œ
œ
œ
b
œ
œ
œ
œ œ œ œ œ nœ œ œ nœ b œ œ
œ
œ
œ
œœ
Œ
b b œœ.
nœ
. œœœ
œ œ œ. œ œ œ œ œ
œ œ œ œ
.
.
.
œ
œ
œœ
œ
œ
œ
œ
˙
œ˙
œ œ
3
b œ.
œ
cresc.
#œ
œ
œ
œ
?œ
>œœ
f
œ
# œ œ œœ
>œ
œ œ œœ œ
œ
n # œœ
œ
Œ
Œ
œ
∑
∑
∑
∑
∑
∑
Pno. II
?#
∑
∑
?
70
œ
œ
∑
∑
.
œ
œœ œœ
. .
p [Winds]
.
œœ œ œœ œ
.
œœ œ
.
.
œœ œ
205
&
Pno. I
#
∑
?#
∑
∑
.
# . œœœ
& œœ œ œ
. . .
. .
œ
œ
œ œœ œœ
?# œ
.
.
205
Pno. II
œ
&
#
211
&
Pno. II
#
Meno
ƒ
œ.
&
œœ œœ
œ
>
√
œœ
>
œ n œ b œœ .
œ b œ n b b ‰ . œœœ ˙˙˙
œ˙
œ.
p
œœ. ‰ b œœ. ‰ œœ. b b œœ. œœ.
‰ ‰ ‰&
Œ
Pno. I
?#
∑
œ. œ.
7
211
∑
∑
nb
b œ.
b œ.
œ.
.f
œ
. . .
œ. b œ. œ b œ n œ n b œ ‰
b
b œ.
œœ # œœœ œœœ.
b
œ
?# œ b œ ‰ œ
œœ ˙˙
œœ ˙˙
√
b œœ b œ b œœ œœ b œ
œ
b b œœ œ b œœ n œœ œ
bœ
cresc.
b œ.
b œ.
b œ.
œœ ..
œœ .. œ œ . œ œ .
& œ œ œ œ œœ
œ œ .. œœ œœ ... œœ
p [Cl., Tp., Vla., Vc.]
œœœ œ œ.
œ
n bb œ ‰
. Œ œ ˙.
œ
r
œœ œœ
œœ œœ
œ . œ œ . œ >œ ..
œœ .. œœ œœ .. œœ œœ ......
œ œ
.
œ œ œ
˙˙
œœ ....
œœ ....
>
f
b œ. b œ.
.
b
œ
. bœ œ
. bœ bœ bœ b œ œ
bœ
bœ œ b œ
b
œ
. .
bœ œ .
.
.
.
p
œœ. b œ.
b
bœ
b œœ
b œœ.
b
.
b œœ. b b œœ
.
œ
œœ .. œœ
œœ ..
.
œ
œ œ
? œœ
œœ
?
b œ.
b œœ
œ
? œœœ
R
œ .
˙. œ
œœœ
œ
.
œ
b œ.
>
b œ b œ n n œœ . œ œ
œ.
b œ.
. . . œ.
‰ œ. œ b œ n œ
?
>
b b ˙˙˙
Œ œ
fl œ
fl
Œ œ̆
œ
fl
. . . .
œœœœ>
˙˙ ..
œ
.
b n œœœœ
√
‰ . œœœœ ˙˙˙˙
>
œ.
œ.
œœ >˙˙
œœ ˙˙
.
œ˙ œ œ œœ œ
˙
œ
[Tp., Strings]
˙.
71
˙.
˙.
˙.
˙.
‰
˙.
˙.
(√)
œ œ. œ œ. œ
217
b œœ .. œœ œœ .. œœ œœ .. œœœ
b
& œœ ..
Pno. I
œ ..
? b œœœ .. œ
b
& œœ
.
œ
217
? b œœ
b
Pno. II
? bb
œ. œ œ . œ
œœ .. œœœ œœœ ... œœ
œ
˙.
&
b
b œœ
Pno. II
? b
b
˙.
r
œœ œœ
n œœ œœ
œ ..
b n œœœ ......
>
&b
222
œ .
˙. œ
˙.
bb
˙.
n œ œœ
œœ
R
? n œœœ
# n œœ.
œœ
.
˙.
œœ
œœ
R
œœ ....
œœ ....
>
.
œ
œ
œ
˙
(√)
>œ
222
bb b n œœœ ......
..
&
Pno. I
>œ ..
œœ ....
œ ..
r
œœ œœ
œœ œœ
Œ
?
.
œ
^
œ
œ
Œ
Œ
^
œœœ
œ
^
œ
œ
Œ
˙.
œ.
œ.
œœ ..
œœ .. b œ œ .
& n œœ œœ ..
bœ œ .
œ
œœ œœ œœ œœ œ œœ.
.
œœ
œœ
R
˙.
˙.
œœ œ œœ.
œ
œœ
72
˙.
˙.
˙.
œœ
œœ
r
œœœ œœœ
œ œ
œœ
.
œœ
.
cresc.
˙.
œœ .. œ
œœ .. œœœ
˙.
˙.
œœ œœ .. œ œ . œ œ ..
œœœ ... œœ œœ .. œœ œœ .. œœœ œœœ ......
œ.
œ . & œœœ ˙˙˙
œ . œ >˙
v
œœ
œœ
˙.
˙.
œœœ œœœ ... œœ œœ .. œœ œœ ....
œœ .. œ œ . œ œ . œœ œœ ....
œœ ..
cresc.
œ.
œœ ..
œœ b œœ œœ
.
œœ œœ n œœ œ œ
œ #œ
>
˙.
n œœ >˙˙
n œœ ˙˙
œ
œœ
b n œœ œœ œ.œ œœ # œœ n œœ.
p
˙.
√
œœ >˙˙
.
‰ œœ ˙˙
b œ œ.
œœ .. n b œœ œœ ..
œœ ..
‰ . n œœœ ˙˙˙
nœ ˙
>
Œ
œ˙ œ œ œ >œ
˙ ..
&
˙.
^
Œ œ Œ
b n œœœ
Œ
œœ
œœ
√
˙.
Œ
?
Œ
œ
œœœ
^
œœ
œœ
Œ
Œ
^
œ
œ
œœœœ
œ œ œ œ œœ
>
˙.
˙.
b ‰
&b
228
Pno. I
? bb
√
œ œ .. œ œ ..
≈ œœœ œœœ .. œœœ œœœ ..
œ
œ
œœ . œœ œœ .
. .
œ
& œ .. œœ œœ ..
b œ
& b œœ œ
Pno. II
? bb
F
˙.
œœœ
œ
œœœ .. œœœ œœœ ..
œ .. œ œ ..
˙.
b œœœœœœ
b
œœ
& œœœœ
œ œ œ œ œœ
œœ œœ .. œœ
œœ œœ .. œœ
œœœ .. b œœœ œœœ .. œœœ œœœ ..
œ .. b œ œ .. œ œ ..
œœ
œœ
œœœ
œ
b œœ ... œ œ .. n œ œ .. b œ œ^ œ
b œœ . œœœ œœœ .. n œœœ œœœ .. b œœœ œ œ œ œœ œ œ
œ œœ
˙.
˙.
? b
b
∑
∑
Pno. II
?
œœœœ
œ œ œ œ œœ œ
œ
œœ.
œœ ‰
Œ Œ
œœ œ œœ
œ
∑
∑
∑
∑
˙˙^
˙
˙^
2 ˙˙
4
˙.
˙.
2 ^ Œ
4
œœœ œ
œœœ œ
∑
?
∑
f
œœœ ^
?œ œ 2 œ Œ
œ 4 œ
∑
œ œ œ œ œœ œ
œœœœ œ
ƒ
^
œœœœ
œ œ œ œ œœ œ
œ
b œœœ .. œœ œœ . n œœ œœ . b œœ
b œ .. œœ œœ ... n œœ œœ ... b œœ
œœ.
œœ œœ
œœ œœ œœ.
8
bb
&
œœ ... b œœ œœ ... œœ œœ ..
œœ . b œœ œœ . œ œ ..
œ œ
œœ œ œœ.
œ
˙.
? b œœœœœ
b œœ œ œ œœœ
œ œœ œ
œœ
234
œœ œœ .. œœ
œœ œœ .. œœ
cresc.
234
Pno. I
œœ ... œœ œœ ...
œœ . œœ œœ .
œœ œœ œœ.
œœ
.
228
œœ
œœ
˙.
∑
∑
√
&
>œ
œ ≈ œ œ
œ
>
p
œ
œ ≈ & œ
>
œ œ
>
p
3
2
4 œœœ œ œ œ œ œœœ œ œ œ œœ œ
3
3
73
∑
œœ .. œœ œœ .. œ
œœ .. œœ œœ .. œœœ
?
œœ .. œœ œœ .. œ
œœ .. œœ œœ .. œœœ
œœœ
œœ^ œœ^ >˙˙
œ œ ˙
˙˙^
˙
ƒ [Cr., Tp.]
Œ Œ
œ‰
œ.
3
œœœ
œ œœ œ
3
œœ ..
œœ ..
œœ ..
œœ ..
œœ œœ .. œœ
œœ œœ .. œœ
œœ œœ
œœ œœ ‰
œœœ
œœœ
3
œœœ œ
b
& b œœœœ
243
Pno. I
(√)
œœ ‰
œœ
.
? bb
œ ‰
œ œœ
.
243
œ.
? b œœœ œœ ‰
b
&
Pno. I
œœ.
œœ ‰
F
œ œ
?
œœ .. œœ œœ .. œ
œœ .. œœ œœ .. œœœ
œœ.
œœ ‰
Œ
(√)
253
^
bb œœ œœ œ
& œœ œœ œœ
. .œ
œœ. œœ. œ^
? b b œœ œœ œœœ
3
œœ œ
˘œ
œœ
œ
˘œ
œœ
œ
.
œ. œœ œ.
œ œ
.
œ. œœ œ.
œ œ
œœœ. ‰
œ
b œ
œ
& b œœœ ‰ œœœœ ‰ œœœ ‰
. . .
253
Pno. II
œœ .. œœ œœ .. œ
œœ .. œœ œœ .. œœ
œ
œœ.
œœ ‰
cresc.
œ œœ œ
œœ.
œœ
œœ
œœ
.
œœ.
œœ
^
œœ
œœ
œœ^
œœ
3
œœ œ ‰ œœ
œœ œœœ œœ
. >
f
>œœ
œœ œœ
œœ œœ ‰
œœ
œ ‰
œ œœ
.
œœ ‰
œœ
.
Ï
œœ.
œœ ‰
˘œ œ.
œœ œ
œ
œœ. œœ. œ^
œœ œœ œœ
œ
œœ
œœ
.
>œœ
œœ
>œœ
œœ
cresc.
œ.
‰ œœœ ‰
3
œ œ
œœœ œ œ œ œ œœ œ œ œ œ œœœ œ
Œ
∑
∑
∑
∑
∑
∑
Œ
∑
∑
∑
∑
∑
∑
œ œœ . œ œ . œ
6
œœ ‰
. œ œ.
≈
œœ œ œ œ œ œ œ œ œ œ œœ .. œœ œœ .. œœœ
.
ƒ [Tutti]
˙
>œœ
œœ
œ. œ. œ œ
œ œ œœ œœ œœ œœœ
œ. œ. œœ œ
v >
ƒ
œ. œ. . .
œ œ œœœœ œœœœ œœœ^ >œœœ
œ œ
˘œ œ.
œœ œ
œ
œœœ ‰ œœ ‰
œœ œœ ˙˙
˙˙
. . -̇
-̇
f [Cr., Tp.]
√
? b
b œ œ œ œœœ œ œ œ
3
œœ ..
œœ ..
^
œœ œœ œ
œœ œœ œœœ
. .
>œœ
œœ
œœ œœ .. œœ
œœ œœ .. œœ
œœ œ œ
3
œœ
œœ
.
œœ ..
œœ ..
œœ ‰ œœ ‰
œœ œœ
.
.
cresc.
[Tp., Strings]
Pno. II
? bb
œ
œ ≈ œ œ
œ
F cresc.
œ
œ ≈ & œ
œ œ
˙
74
3
œœ .. œœ œœ .. œ
œœ .. œœ œœ .. œœœ
˙
œœ
œœ
˙˙
-̇
˙˙
-̇
[Tp., Strings]
3
3
3
œ œœ . œ œ . œ
≈
œœ ‰ œ œ œ œœ ... œœœ œœœ ... œœ
œ
œœ
F
œ œ
[Ob., Cr., Tp.]
˙
˙
œœ .. œœ œœ .. œ
œœ .. œœ œœ .. œœœ
dim.
˙
b
&b
∑
∑
∑
∑
∑
? b
b
∑
∑
∑
∑
∑
263
Pno. I
b œœ œ ‰ œ œœb
& œœ œœ œœ
Cl.,
p [Ob.,
Strings]
.
. œ œ.
? b
œ
b œ œ œ.
Pno. II
274
&
Pno. I
? bb
274
&
Pno. II
bb
bb
? bb
.
œ˙
˙˙
-̇
˙˙
˙
-̇
π
œ ˙
œ˙œ œ ˙˙
∑
∑
3
b
& b ˙˙˙
-̇
˙
? b ˙˙
b
Œ œ
.
286
bb ∑
&
˙˙
-̇
?
286
Pno. I
Pno. II
? b
b
∑
˙˙˙
˙˙
-̇
∑
∑
∑
∑
œœœ œ
˙˙
-̇
œœ œœ œ
œ. œ. œœ
-
œœ œœ œ
œ. œ. œœ
-
˙˙
-̇
œœ ‰ Œ
œœ
∑
∑
∑
.
.
.
3
3
3
.œ œ œ. œ. œ œ. œ. œ. œ œ.
œ.
œœœ œ œ œ œ œœœ œ œ œ
œ.
.œ
œ
∑
œœœ
-
˙˙
˙
-̇
˙˙
˙˙
˙˙
˙
˙˙
-̇
˙˙
˙
∑
π rit.
3
œœœ œ
œœ œœ œœ œœ
J
Lento
∑
∑
∑
3
˙
˙
œœ œœ œœ
œœ œœ œœ
--p
--œœœ œœœ œœœ
Ó
˙˙
˙˙
∑
˙˙
œ̇ Œ
.
∑
∑
∑
Lento
œœœ œ
œœ œœ # œœ œ ˙
œ ˙
∑
∑
∑
75
œœ œœ œœ
œœ œœ œœ
----œœœ œœœ œœœ
œœœ
Ó
∑
˙˙
˙˙
∑
˙˙˙
œ̇ Œ
.
∑
∑
∑
# œœ œ œœ ˙˙-̇
-j
œœ œœ ˙
˙˙
œ œœ œœ œœ ˙˙
œ
#
œœ œœ
œ̇ œ Ó
œ Œ Ó
œ̇ Œ
. .
.
.
∑
∑
∑
∑
∑
∑
.œ
œ
∑
∑
∑
3
[Tp.]
˙˙
˙˙
rit.
.
œ˙
œ
œ
œ
œ
œ ˙
œ˙ œ œ œ˙œ œ œ˙ œ œ œ˙œ œ œ˙œ œ ˙˙
.
.œ œ. œœ œ. œ. œ. œ
œ œ œ œ œ œ-
œ. œ. œ
œ œ œ-
263
œœ
œp
œ
œœ œ. œ. œœ
.
.
œœœ œ
j
œœ œ œ œ ˙˙
œ œ œœ -̇
œ
œœ ‰
˙˙
œœ Œ œ
.
.
∑
∑
∑
-̇˙
˙˙-̇
∑
˙˙
˙
œ œ ˙
˙
# ˙˙˙
œ œ Œ
œ Œ œ Œ œ œ œ̇ œ
.
. . . .
.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
9
Pno. I
? b œœ
b œ
‰
Œ
∑
? bb
‰
Œ
∑
œ
b
&b Œ
298
Pno. II
? bb
p
[Tp., Strings]
˙
œ
œ
œ
œ
œ
œ #œ
#œ
œ
œ
œ
œ
#œ
#œ
œ
œ
˙
˙
Grandioso
∑
œ
œ
œ
œ
#œ
#œ
œ
œ
˙
œœœœ
œœœœ
∑
&
œœœœ
Grandioso
ƒ [Tutti]
œ- œ- œœ œ œ
œ œ œ
√
b
&b
301
Pno. I
ƒ
? b
b œ
œœ
œ
>
U
˙˙
301
bb ˙˙
&
Pno. II
? b ˙˙
b ˙œ
œ
œ
œœ
œœ
œ
œ
œ
œ
œ
œ
œ
œ
œœ
œœ
® œœœ
œ
>
œ
œ
œ
œ
œ
œ
œ
œœ
œœ
œ
œ
œ
œ
® œœœœ
>
. . . . ˘
œ
.K
œ œ œ
r
œ
œ œ œ œ œ
U
®
œ œ œ œ
œ
œ
œ.
œ
RÔ
œ œ U
œ
&œ œ œ œ œ ®
œ. œ. . . fl
∑
∑
œœœœ
œœ
œ
Œ
76
œœœœ
œœ
œ
?
œœœœ
œœ
œ
√
&b
303
Pno. I
b
ƒ
œ
œ
œœ
œœ
? b
b œœ
œœ
>
œ
œ
b ˙
& b ˙˙˙
œ
œ
œœ
œœ
>
®
œ
œ
œ
œ
œœœ
œ
œ
œ
œ
œ
œ
œ
®
œœ
œœ
>
.
œ Kr
œ œ
œ
œ
œ
œœ
œœ
œ
œ
œ
œ
303
Pno. II
˙
? b b ˙˙œ
b
&b
∑
‰
Pno. I
? bb
œœb œœ
&b
ƒ
œ? b œœ
b
304
Pno. II
∑
œœœœ
œœ
œ
‰
œœ- œœœœ œœœ
œœœ
œœ
œ
>˙
˙˙
˙
œ
œ
œ
&œ œ œ œ œ
. fl
œ. œ. .
U
®
U ?
®
Œ
œ
304
œ.
œ
RÔ
. . . . ˘
œ
œ œ œ
œ
œ œ œ œ
œ
^
œœœ
œ
^
œœ
œœ
œœœ^
œ
^
œœ
œœ
œœœ^
œ
^
& œœ
œœ
‰
^
œ
# n œœœ
‰
^
?
n œœœ
>˙
# n ˙˙˙˙
>˙
˙
˙
# >˙
n ˙
˙
77
œ^
# n œœœ
^
n œœœ
œ^
# n œœœ
^
& n # œœœ
œ
?
?
ƒ
œ # œ œ.
œ
œ
#
œ
œ œ
# œ œU
# œœœ œ # œ œ œ œ
®
œ œ œ
307
rapido œ œ # œ
œ œ #œ
? bb
# œœœ œ # œ œ œ œ& # œ œœ œ # œ œœ œ œ œ
# œ # œœ œ # œ
Pno. I
? b
b
‰
œ
# œœœ
˙>˙˙˙
307
#
b
&b ˙
Pno. II
œ # œ œ œ œœ
œ #œ œ œ
>
˙
? b b # ˙˙˙˙
>
œ
bb œ œœœœ œ œœ œœ^
& œœ œ œœ
œ œ
309
Pno. I
U
Ó
Ó
˙
œœœ^
œ
œœ
œœ
∑
∑
?
œ
œœœ
˙˙
bb ˙˙
&
œœœœ
œœ- # œœ- œœœ œœ œœœ
˙˙
˙˙
? b ˙˙
b ˙
œ
œ
# œ-
œœ # œ œœ
œ- œœ œ-
˙˙
˙
œœ
œœ œœ
œœ
œœ œ^
œœ œœœ
œœ^
œœ
^
œ
œœœ
^
œœ
œœ
? œœ
& œœ œœ & œœ
œœ
œœ
?
œ
‰ œ œ œœœ
œœ œœ
œ- œ- œœœ œœ œœœ
>˙
˙˙
˙
œ
œœ
-
˙
˙
>
# œœ
œ-
78
œ
‰ œœ œœ œœœ
œœ œœ
∑
∑
∑
œœœœ
ƒ
œœœ
U
œœ œœ ^ ^
? b b œœ œ œœ œ œœ & œœ
œ œ
œœ
309
Pno. II
œ œ œ
œ
#
œ
œU
œ
#
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
∑
œœ œœ
œœ œœ
& œœœ œœœ
œœ
‰ # œœœ
œ
?
?
œœœœ
œœœœ
œœœœ
œœœœ
œœœ
œœœ
œœ
œœ # œœ
œœ
√
œœ œœ
œœ œœ
œœ
‰ œœ œœ # œœ & # œœœ
œ
œœ
˙
# ˙˙˙
>
# ˙˙
˙
>
œœ ?
œœ
Allegro
(√)
œ œ œ œ œ œ œ œ œ œ œ œ
bb œ œœ œ œœ œ b œœ œ œœ œ œœ œ œœ œ b œœ œ œœ œ œœ œ œœ œ b œœ œ œœ œ œ œ œ œ œ
&
œœœœ œ œ
œ œœœ ˙ ˙
œœ œœ œ b œ œ œ ˙ b ˙
10
Pno. I
? b
b
ƒ
œ
œ
œ œ œ
œ
.
b œœœ ‰ Œ
b
& œ
Allegro
Œ
315
Pno. II
f [Strings]
? b œ œ œ.
b œ .
.
√
˙
b ˙ b ˙˙
b
&
321
Pno. I
Pno. II
œ
œœ œ œ
œ.
˙
˙
œ.
œ.
œ.
œ
œ.
[Winds]
Œ
œ
œœ œ œ
œ
œ. œ.
œ.
œ.
∑
œ.
œ ‰
& b œœ œœ
&
œ. .
œ.
œ
œ.
Œ
œ
œ. . œ.
œ.
œœ
œœ
œ.
œ
n œœœ ‰ œ œ œ œ œ œ œ œ ? œ œ œ œ Œ
œ œœ
b ˙˙
S
3
œœ
3
3
? b œœ œ
œœ œ
?œ œ œ
‰
b
œ œœ œ œ œ
œœ
œ
œ &
œ
œ
œ
3
œ œ.
(√) . .
321
œ œ . œ. . œ. œœ.
bb œ. œ.
œ
œ œ œœ ‰ Œ
∑
&
F
.
. œ
bb
œ
œ
Œ
&
œ. œ. .
œ.
[+Strings]
b œœ œœ
œ. √
œ.
œ.
œ.
œ
œ. .
?
f
œ.
œ‰ Œ
œ
∑
79
œœ
^
œœœ
œ
œœ.
œœ ‰ Œ
œ.
œ ‰ Œ
œ
&
œœ œ
œ œ
3
œ
?
œ. œ.
œ. œ.
œ œ
œ. . œ. .
^
œœ Œ
œ œœ
Œ
3
^
œœ
œœ
œ^ œ
œ œœ
Œ
Œ
œœ^
œœ
œœ.
œœ ‰ Œ
œœœ.
œ ‰ Œ
œ.
œ ‰ Œ
œ
œ.
œ ‰ Œ
œ
&
√
œœ^
328
b
&b
Pno. I
Pno. II
b
&b Œ
œœ.
328
b œœ
b
&
? bb
? b
b
330
Pno. I
? b
b
330
&
Pno. II
œ
&
b
bb
Pno. I
&b
b
Œ
‰
Œ
?
œœ^
œœ
œœ
œœ
‰
Œ
?
b ˙>˙
Œ
‰
Œ
&
ƒ
ƒ
bœ œ œ bœ
œ
œ
œ
b
œ
œ
œ œ œ bœ œ
b
œ
œ
œ
œ œ œ bœ
˙
√
œ
bœ œ
œ œ œ
œ
œ
œ
œ
b
œ
œ
œ
œ
œœ
œ œ bœ œ œ
b
œ
œ
œ
œ bœ œ
& œ œ œ bœ œ
˙
‰
œ
œœ
n
? b b œœ
b ˙˙
b ˙˙
U
˙
(√)
œ
œœ.
n
b œœJ
b
&
[Tutti]
˙
>
œ
œ œ œ bœ œ &
b
œ
œ œ bœ
œ
œ
bœ œ œ œ bœ
œ œ œ bœ
‰
331
Pno. II
œ
‰
b b b ˙˙
&b
331
œ
œ.
œ
√
œ
œ
œœ
œœ
œ
n œœœ
?
U
U
Œ
˙
Œ
?
U
nœ
œ
n œœœ
œ
œ
œ nœ
˙
˙
U
˙
˙
80
˙
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Zanolini, Bruno. Translated by Susannah Howe. Program notes to Ottorino Respighi: Complete
Works for Violin and Piano, Vol. 1. Sonata in D Minor, Six Pieces, Five Pieces.
Performed by Emy Bernecoli, violin, & Massimo Giuseppe Bianchi, piano. Naxos
Rights US, Inc., 8.573129. CD. 2014.
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RECORDINGS
Violin Sonata no. 1 in D Minor, P. 15 (1897)
Respighi, Ottorino. Sonata in D Minor for Violin and Piano (1897). R. Baraldi, violin and M.
Palumbo, piano. Nuova Era 7159, CD, 1993. Respighi, Ottorino. Sonata in D Minor for Violin and Piano (1897). S. Pagliani, violin and M.
Vincenzi, piano. Dynamic CDS 404, CD, 2002.
Respighi, Ottorino. Sonata in D Minor for Violin and Piano (1897). I. Turban, violin and K.
Nemirovitch-Dantchenko, piano. Claves 50-2109, CD, 2007.
Respighi, Ottorino. Sonata in D Minor for Violin and Piano (1897). Marco Rogliano, violin and
Maurizio Paciarello, piano. Tactus TC.871890, CD, 2008.
Respighi, Ottorino. Sonata in D Minor for Violin and Piano (1897). I. Then-Bergh violin and
M. Schäfer, piano. Genuin GEN 89116, CD, 2009.
Respighi, Ottorino. Sonata in D Minor for Violin and Piano (1897). Fabio Paggioro, violin and
Massimiliano Ferrati, piano. Brilliant Classics B00G76HSOC, CD, 2013.
Respighi, Ottorino. Sonata in D Minor for Violin and Piano (1897). Emy Bernecoli, violin and
Massimo Giuseppe Bianchi, piano. Naxos 8.573129, CD, 2014.
Sonata in F Minor for Piano, P. 16 (1897)
Respighi, Ottorino. Sonata in F Minor for Piano, P. 16 (1897). M. Palumbo, piano. Nuova Era
7156, CD, 1993. Respighi, Ottorino. Sonata in F Minor for Piano, P. 16 (1897). K. Scherbakov, piano. Naxos
8.553704, CD, 1997.
Respighi, Ottorino. Sonata in F Minor for Piano, P. 16 (1897). T. Seki, piano. Jasrac/Tokuma
TKCC-15177, CD, 2000.
Respighi, Ottorino. Sonata in F Minor for Piano, P. 16 (1897). M. Vincenzi, piano. Dynamic
CDS 404, CD, 2002.
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Aria in G Major, P. 32 (1901)
Respighi, Ottorino. Aria in G Major, P. 32. Salvatore Di Vittorio, conductor, and Chamber
Orchestra of New York-Ottorino Respighi, Orchestra. Naxos 572332, CD, 2011.
Respighi, Ottorino. Aria in G Major, P. 32. Andrea Macinanti, organ. Tactus TC 871801, CD
2001.
Respighi, Ottorino. Aria in G Major, P. 32. Andrea Macinanti, organ. Tactus TC 871802, CD
2005.
Leggenda, P. 36 (1902)
Respighi, Ottorino. Leggenda, P. 36. F. Borali, violin, and A. Bassi, conductor. Tirreno TIR
013, CD 1994.
Respighi, Ottorino. Leggenda, P. 36. M. Rogliano, violin, and R. Diem Tigani, conductor.
Inedito PI 2632, CD 2007.
Berceuse, P. 38 (1902)
Respighi, Ottorino. Berceuse, P. 38. A. Bassi, conductor. Tirreno TIR 013, CD 1994.
Respighi, Ottorino. Berceuse, P. 38. R. Hickox, conductor. Chandos CHAN 9415, CD 1995.
Piano Quintet in F Minor, P. 35 (1902)
Respighi, Ottorino. Piano Quintet in F Minor, P. 35. P. Prati, piano, and Quartetto di Venezia,
string quartet. Ermitage ER 410, CD 1993.
Respighi, Ottorino. Piano Quintet in F Minor, P. 35. M. Palumbo, piano, and Nuovo Quintetto
Modigliani, string quartet. Nuova Era 7159, CD 1993.
Respighi, Ottorino. Piano Quintet in F Minor, P. 35. A. Orvieto, piano, and Ex Novo Ensemble
di Venezia, string quartet. Dynamic CDS 99, CD 1994.
Respighi, Ottorino. Piano Quintet in F Minor, P. 35. M. Vincenzi, piano, and Ensemble
Filarmonico Italiano, string quartet. Dynamic CDS 404, CD 2002.
Respighi, Ottorino. Piano Quintet in F Minor, P. 35. Patrizia Prati, piano, and Quartetto di
Venezia, string quartet. Aura Classics 0416, CD 2000.
Respighi, Ottorino. Piano Quintet in F Minor, P. 35. D. Ambache, piano, and The Ambache,
string quartet. Chandos CHAN 9962, CD 2001.
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Respighi, Ottorino. Piano Quintet in F Minor, P. 35. A. Cabassi, piano, and Five Lines, string
quartet. Amadeus AM 254-2, CD 2011.
Fantasia Slava, P. 50 (1903)
Respighi, Ottorino. Fantasia Slava, P. 50. G. Tozer, piano, and E. Downes, conductor.
Chandos CHAN 9311, CD 1994.
Respighi, Ottorino. Fantasia Slava, P. 50. M. Palumbo, piano, and A. Bassi, conductor.
Tirreno TIR 013, CD 1994.
Respighi, Ottorino. Fantasia Slava, P. 50. K. Scherbakov, piano, and H. Griffiths, conductor.
Naxos 8.553207, CD 1995.
Respighi, Ottorino. Fantasia Slava, P. 50. D. Scuccuglia, piano, and F. La Vecchia, conductor.
Brilliant Classics 94394, CD 2013
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