deuxi`eme sonate - el · pdf filehenri j´eroˆme bertini 1798–1876 henri...
TRANSCRIPT
a Monsieur D. Alard
Deuxieme Sonatepour
Piano et Violon
Op. 153
par
Henri Bertini jeune
1798–1876
Violon
Copyright c© 2012 by James L. Bailey
Creative Commons Attribution Share Alike 3.0
Downloaded from the International Music Score Library Project
Henri Jerome Bertini 1798–1876
Henri Jerome Bertini was born in London on October 28, 17981, but his family returned to Paris six
months later. He received his early musical education from his father and his brother, a pupil of Clementi.
He was considered a child prodigy and at the age of 12 his father took him on a tour of England, Holland,
Flanders, and Germany where he was enthusiastically received. After studies in composition in England
and Scotland he was appointed professor of music in Brussells but returned to Paris in 1821. It is known
that Bertini gave a concert with Franz Liszt in the Salons Pape on April 20, 1828. The program included a
transcription by Bertini of Beethoven’s Symphony No. 7 in A major for eight hands (the other pianists were
Sowinsky and Schunke.) He was also admired as a chamber music performer, giving concerts with his friends
Fontaine (violin) and Franchomme (cello). He remained active in and around Paris until around 1848 when
he retired from the musical scene. In 1859 he moved to Meylan (near Grenoble) where he died on September
30, 1876.
Bertini concertized widely but was not as celebrated a virtuoso as either Kalkbrenner or Henri Herz. One
of his contempories (Marmontel) described his playing as having Clementi’s evenness and clarity in rapid
passages as well as the quality of sound, the manner of phrasing, and the ability to make the instrument
sing characteristic of the school of Hummel and Moscheles. Thomas Tapper, in the preface of his edition of
the Etudes Op.100 published by Ditson, says:
He was in his time a shining example of the most admirable qualities of an artist. Living in an
age of garish virtuosity, and hailed as a brilliant executant himself, he maintained nevertheless
the most rigorous standards of musicianship in his playing, in his compositions, and in the
music which he appeared before the public to interpret. This is the more remarkable when one
considers that his manhood was reached during the luxuriant period of French romanticism and
that the extravagances of the literary outburst were reflected in the musical movements of the
time. Virtuosity was subjected to sore temptations and many succumbed. Bertini stood for the
sounder qualities of the artist and gradually acquired an extended and remunerative prestige. His
life was singularly devoid of incident and official distinction, but the legacy of pedagogic works
which he has left to us and his honorable activity give it every right to be called a success.
Bertini was celebrated as a teacher. Antoine Marmontel, who devoted the second chapter of his work on
celebrated pianists to Bertini, writes
He was unsurpassed as a teacher, giving his lessons with scrupulous care and the keenest
interest in his pupils’ progress. After he had given up teaching, a number of his pupils continued
with me, and I recognized the soundness of the principles drawn from his instruction.
It is above all in the special class of studies and caprices, that Bertini’s immense popularity is
founded. It is here that he occupied a unique position and opened the path over which the next
generation of composers was to rush after him. In each of his numerous collections of studies,
embracing every degree of difficulty, he has insistently given to every piece, easy or difficult,
brief or extended, a character of salient melody. The technical problem to be overcome presents
itself as a song; even where the study is devoted to the problem of velocity the general contour
falls into a melodic curve, and this is the first and transcendent cause of the universal success
of these pieces, which are, furthermore, natural in respect to rhythm and carefully thought out
harmonically.
Robert Schumann, in a review of a piano trio in the Gesammelte Schriften, comments that Bertini writes
easily flowing harmony but that the movements are too long. He continues: “With the best will in the
world, we find it difficult to be angry with Bertini, yet he drives us to distraction with his perfumed Parisian
phrases; all his music is as smooth as silk and satin.”2 German sentimentality has never appreciated French
elegance.
Bertini is best remembered today for his piano method Le Rudiment du pianiste, and his 20 books of
approximately 500 studies.
1See Henri Bertini pianiste virtuose, compositeur de musique (Grenoble, 1999) by Pascal Beyls.2Cobbett’s Cyclopedic Survey of Chamber Music, Second Edition, Volume 1, page 124.
2
GR
Violon
Deuxieme Sonate pour piano et violonHenri Bertini jeune Op. 153
Allegro vivace risoluto. M : ˘ = 104
< >3
ff
ˇ ˇ ˇ ¯ ¯ ˇ >< < >
3
ˇ ˇ ˇ ˇ ˇ ˇ ¯ ¯7
G ¯¯ ˇ > <p espress.
ˇ ˇ ˘ ˇ ˇ ˘ ˇ ˇ ˇ ˇ ˘ ˇ ˇ ˇ x ˇ
13
G ˇ ˇÈÈ ‰ˇ ‰ ˇ 2ˇ ˇÈÈ ˇ ˇˇ ˇÈÈ ˇ ˇ 6ˇ ˇÈÈ ˇ ˇ
cresc :
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
18
G ˇ 4ˇ ˇ ˇ 4ˇ ˇf
fi ˇ fi6ˇ fiÉÉ fiˇ fiˇ fiŔŔˇ ffi˘ ffi ˘
3
ˇÉÉ
3
ˇ ˇ ˇ3
ˇ ˇ ˇ3
ˇ ˇ ˇ
22
G3
ˇÉɢ ˇffi ˇ ˇ ˇ ˘ffi ˘ ˇ ˇ ˘ ˘ ˇ ˇ ˇ ˇ ˘ ˇ
ˇˇˇ˘˘ˇˇ
27
G >p
ˇĽĽˇ ˇ ˇ ˇÄÄ ˇ >
fz
ˇ4ˇˇ > < >f˘ ˇ
ˇ ˘ ˇ ˇ
32
G˘ ˇ
ˇ3
f
ĽĽ 3
ˇ ˇ ˇ ˇˇ 3
ˇĽĽ 3ˇ Éɡ ˇ
x ˇp espress:
˘ ˇ ˇ ˇ ˇ ˇ ˇ
37
G ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘ ˇ ˇ ˇ ˇ ˇ ˇ 2ˇ ˇ ˘
42
Gˇ 2ˇ ˇ ˇ 2ˇ ˇ ˇ ˇ ˇ 2ˇ ˇ ˇ ˇ ˇ 2ˇ ˇ ˘ ˇ 2ˇ
Deuxieme Sonate pour Violon Op.152 par Henri Bertini Downloaded from the IMSLP
347
Gˇ> < > 3
ff
ˇ 2ˇ ˇ3
ˇÉÉ ˇ >
ˇˇˇˇ< >
3
ˇĽĽ 3ˇ Éɡ ˇ > ˇˇ
ˇˇ<
52
G >3
ˇĽĽˇ
3
ˇÉÉ ˇ >
p
ˇ ˇ 4ˇ ˇ ˇ ˇ 4ˇ ˇ 4ˇ ˇ ˇ ˇ ˇ ˇ 4ˇ
57
G ˇ ˇ ˇ 4ˇ ˇ ˇ ˇ 4ˇ ˇ > <2
: >x
p
˘`-ˇ ?
p
ˇ 2ˇ 4ˇ
64
G ˇ ˇ 2ˇ 4ˇ ˇ3e Corde.ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 4ˇ ˇ ˇ ˇ ˇ ˇ
69
G ˇ ˘ 6ˇ > ˘ 6ˇ ˇ > < ˇ ><
p
> ˇ 2ˇ 4ˇ ˇ ˇ 2ˇ 4ˇ
75
G ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 4ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ > <
80
Gff
ˇ ˘ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇÉÉ ˇÉÉ ˇÉɡ
3
ˇ ĽĽ3
ˇ ˇÉɡ ˇ
84
G ˇ ˘ ˇ ˇˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇÈÈ ˇÈÈ ˇÈÈ =
p
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
89
G =p
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ¯ ˇ > <pizz.
4ˇ >P< 7
Deuxieme Sonate pour Violon Op.152 par Henri Bertini Downloaded from the IMSLP
4
94
G < >p
4ˇfz
¯ ¯p
ˇ >< 2
:p> 3
ˇ 4ŻŻ
3
ˇ 4ˇŻŻˇ 3ˇÃà ˇĽĽ
ˇ ˇÉÉ ˇ ˇ
102
G ¯ ˇ > <f
ŔŔ ˇ ˇÏÏˇ ˇ ˇ
ˇ ˇŔŔˇ ˇÏÏ ˇ > ˇˇ ˇ > >
ˇ ˇŔŔˇ ˇ ˇ ˇ ˇ ŔŔ
108
G4 (ˇ ? ˇ 6ˇ ˇ ˇˇ ˇŔŔˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇŔŔ
ˇ ˇ > < >p espress :
ˇ 2ˇ 6ˇ ˇ> <
cresc :> ˇ 2ˇ 6ˇ
114
G2ˇ > < > 2ˇ2ˇ 6ˇ
>f
ˇ ˇ 6ˇ >dim.
ˇ ˇ ˇ > 2ˇ ˇ ˇ > ˇ ˇ ˇ
120
Gp> ˇ ˇ ˇ
tr
¯ˇ
ŹŹŹŹ
ˇˇ > <
f
ˇ ˘ 2ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
126
Gˇ> < > ˇ 2ˇ 2
ŔŔ ˇ ˇÏÏˇ 2ˇ > 2˘ ˇ ˇ ˇ ˇ ˇ2ˇ ˇ ˇ ˇ ˇ 2ˇ > < >
f
2ˇ 2ˇŔŔˇ ˇÏÏ 2ˇ
132
G ˇ ˇ 2ÈÈ ˇÈÈ ˇÈÈ ˇ 2ÈÈ ˇÈÈ ˇÈÈ ˇÈÈ 2ˇ > < < >f
4ˇ ˇ 4˘ ˇ ˇ 4ˇ ˇ ˇ
138
Gp
4ˇ 6ˇ ˇ ˇ ˇ ˇ ˇ ˇ 6ˇ > <ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 6ˇ > <
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
143
Gˇ ˇ
cresc :
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
Deuxieme Sonate pour Violon Op.152 par Henri Bertini Downloaded from the IMSLP
5
147
G3
—flflflflfl—
ff poco rall – –
ˇ ˇ ˇ3
—flflflflfl—
ˇ ˇ ˇ 3
—flflflflfl—
ˇ ˇ ˇ ˇˇ ˇ
3
—flflflflfl—
ˇ ˇˇ ˇ ˇ ˇ
in Tempo.
ˇ > <p espress :
˘` ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
152
G ˇ 4ˇ ˇ ˇ ˇ 4ˇˇ ˇ ˇ
> <p
¯¯ ˘ ˘¯ ˇ >ˇ < > ˘ ˇ159
G4ˇ > <f
2ˇÉÉ ˇÉÉ 4ˇĽĽ
ˇ 2ˇ Éɡ ˇ > <p
2¯¯ ¯¯ ˇ ˇ > <166
G > ˇ4ˇ ˇ 4ˇ > <
f
ˇÉÉ ˇ 4ÉÉ 4ˇĽĽ
ˇ ˇÉÉ ˇ > <
f
˘` ˘` ˇ ˇ 4˘˘ ˇ4ˇ flf
ˇ fl ˇ fl ˇ172
G ˇ flˇ flˇ fl ˇ ˇ fl ˇ fl ˇ fl ˇ ˇ ><
f> ˇ
ˇ ˇ ˘ ˘ ˇ4 ˇ fl ˇ fl ˇ fl ˇ ˇ fl ˇ fl ˇ fl ˇ ˇ fl ˇ fl ˇ fl ˇ177
G ˇ > < < >ff
ˇˇ ˇ ˇĽĽˇ ˇ ˇ 4ÉÉ fiˇ fiˇ fl ˇ fl ˇ fl ˇ
fi ˇ fi ˇ fi ˇ fl ˇ fl ˇ 4ˇ > > ˇˇ
183
Gp
¯ ¯ ˘pp
4˘ ˘ 4˘ ¯ ¯ ˘ ˘ ˘ ˘cresc.
¯
192
G¯ ˘ 4˘ ˘ ˘ ¯ ¯ ˘
4˘ ˘ 6˘ ¯ ¯
201
G˘˘ ˘ ˘ 2¯ ¯ ˘ ˘ ˘ 6˘
f
4˘` ˇ ˘` ˇ
209
G˘`ˇˇ ˘`˘`ˇˇ¯¯
¯¯
ˇˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 4ˇ ˇ ˇ ˇ > <
Deuxieme Sonate pour Violon Op.152 par Henri Bertini Downloaded from the IMSLP
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216
Gf
ˇ ˘ ˇ ˇ ˇ 4ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇÈÈ ˇ 6ÈÈ ˇÈÈ ˇ > < > 4ˇ ˇ 4ˇ221
G ˇ > <ˇ ˘ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 4ˇ ˇ 4ˇ ˇÈÈ ˇ 6ÈÈ ˇÈÈ ˇ ˘4˘ ˇˇ
226
G ˇˇ ˘˘ ˇ ˇ ˇ4ˇ > <= >
p
˘` ˘` ˇ ˇ fl ˇ ˇ fl ˇ ˇ fl ˇ ˇ ˇ ˇ > <
232
G = >˘`˘` ˇ ˇ fiˇ ˇ fiˇ ˇ fiˇ ˇ fiˇ ˇ > <
ff
ˇ4ˇˇ > < ˇ4ˇˇ > <
238
G 4ˇ > < >ff
˘ ˘ ˇ ˇ ˇ ˇ ˘ ˘ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ > < =
244
G ˇÉÉ ˇÉÉ 4ˇÉɡ Éɡ
ff
łł ˇ Éɡ ˇˇ ˇ ˇ ¯ ¯3e������������������������‰ˇ > <
249
G ˇ ĽĽ ˇ ˇÉɡ ˇˇˇ ¯¯ ¯¯ ˇ ˇ > <
p espress.
ˇ ˇ ˘ ˇ ˇ ˘
255
G 2ˇ ˇ ˇ x ˇ ˘ ˇ ˇ ˇ x ˇ ˇ ˇÈÈ ‰ˇ ‰ ˇ 2ˇ ˇÈÈ ˇ ˇˇ ˇÈÈ ˇ ˇ
260
G 6ˇ ˇÉÉ ˇ ˇcresc :
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 4ˇ ˇ ˇ 4ˇ ˇf
fi ˇ fi6ˇ fiÉÉ fiˇ fiˇ fiŔŔˇ
264
G ffi˘ ffi˘ ˇÉÉ ˇ
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇÉɢ ˇˇ ˇ ˇ ˘ ˘ ˇ ˇ ˘ ˘ ˇ ˇ
Deuxieme Sonate pour Violon Op.152 par Henri Bertini Downloaded from the IMSLP
7269
G ˇˇ ˘
ˇˇˇˇ˘˘ˇˇ>
p
ˇĽĽˇ ˇ ˇ ˇÄÄ ˇ >
fz
ˇ4ˇˇ > < >f
ˇ ˇ274
G ˘ ˇˇˇ ˘ ˘ ˇ ˇ ˇ
ˇ ˘ ˘ ˇ ˇˇ
f
ĽĽ ˇ ˇ ˇ ˇˇˇĽĽ ˇ Éɡ ˇ
xˇ
279
Gp
˘ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘ ˇ ˇ
284
G ˇ ˇ ˇˇ 2ˇ ˇ ˘ ˇ 2ˇ ˇ ˇ 2ˇ ˇ ˇ ˇ ˇ 2ˇ ˇ ˇ
289
G ˇˇ 2ˇ ˇ ˘ ˇ 2ˇ ˇ
> < >ff
ˇ 2ˇĽĽˇ ˇÉÉ ˇ > ˇˇ ˇ <
294
G > ˇłł ˇ Éɡ ˇ > ˇˇ
ˇ < > ˇ ˇłłˇ ˇÉÉ ˇ >
ff
ˇ ˇ ˇˇ ˇ ˇ 4ˇ
299
G ˇp
ˇ ˇ 4ˇ ˇ ˇ ˇ 4ˇ ˇ 4ˇ ˇ ˇ ˇ ˇ ˇ 4ˇ ˇ ˇ ˇ 4ˇ
304
G ˇ ˇ ˇ 4ˇ ˇ > <2
: >p
ı ˇ ı ˇ ı ˇ ˇ ˇ2ˇ 4ˇ ˇ ˇ 2ˇ 4ˇ
311
G ˇ ‰ˇ ‰ˇ ‰ ˇ ‰ ˇ ‰ ˇ ‰ ˇ ˇ ˇ ˇ ˇ fi ˇ ˇ 4ˇ ˇ ˇx ˇ 4ˇ ˇ ˇ ˇ ˇ ffi ˇ
316
G ˇ ffi˘ ffiˇ ˇp
˘ 6ˇ > ˘ 6ˇ ˇ > < ˇ ><
Deuxieme Sonate pour Violon Op.152 par Henri Bertini Downloaded from the IMSLP
8
321
G >p
ˇ 2ˇ 4ˇ ˇ ˇ 2ˇ 4ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇcresc :
ˇ ˇ ˇ ˇ ˇ ˇ ˇ
326
G ˇ ˇ 4Ĺš ˇ 4ˇ ˇ ˇ
f poco ritenuto.
ˇffi ˇ 4ˇ ffi ˇ ˇ
dim
ffi ˇ ˇ ffi ˇ ˇ ffi ˘ ffi ˇin Tempo
ˇff
ĽĽ ˇ Éɡ ˇ331
Gˇ ˘ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ŹŹŹŹˇ ˇ ˇ ˇ ˇ ˇÐÐ
335
G ˇ ˇÐÐ 4ˇ ˇ ˇÐÐˇ ˇ
ff
ŔŔ ˇ ˇÏÏˇ ˇˇ ˘ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
340
Gfiˇ fiˇ fi ˇ fi ˇ fi ˇ fi ˇ fl ˇ 4ˇ ˇ ˇ fl ˇ fl ˇ
fi ˇ fl ˇ fi ˇ ˇ ˇ ˇ 4ˇ 6ÉÉ ˇÉÉ344
Gp espress :
ˇ ffi ˘ ffi ˇ ˇ ffi ˘ fi ˇ fiÉÉ fiˇ fiÉÉ ˘ ˇ ˇ fi ˇ fiÉÉ ˇ ˇ ˇ ˘ ˇÉÉ349
G ˇÉÉ ˇˇ
ŹŹŹŹ
ˇ ˇ ˇĽĽˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
˘ ˇ ˇˇ
ŹŹŹŹ
ˇ ˇÄÄ ˘ ˘
354
Gx˘ ˇ ˇ
ˇ
ŹŹŹŹ
ˇ ˇÊÊ ˘ 4˘ ˇ > <ff
ĽĽ ˇ Éɡ ˇ ˇ ˇ ˇ ¯ ¯360
G ˇ ><
p
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 4ˇ > <poco rall : – – – –
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ365
G ˇ ><
pizz.
ˇ > < ˇ > <in Tempo.
flff arco. risoluto.
ˇ fl ˇ flĽĽ flˇ flˇ flÉɡ flˇ >
ˇˇfi ˇfl ˇP<
Deuxieme Sonate pour Violon Op.152 par Henri Bertini Downloaded from the IMSLP
9
G224Andante. M : (ˇ = 112
8
; ;p? ˇ (ˇ ? ˇ -
ˇ?ˇ-ˇ ? ˇ (ˇ ? ˇ -
ˇ
14
G2 ? ˇx-ˇ ? ffi ˇ (ˇ ˇ (ˇ ? ?
p
6 (ˇ ?cresc :
ffi ˇ (ˇ ? ˇ (ˇ20
G2 ? 6ˇłł ?
f
ˇ` ˇ 4ˇ ˇ 6ˇ` ˇ 6ˇ ˇp
2ˇ` ˇ 4ˇ ˇ ˇ 4ÃÃˇ ffiˇ
p
espress :6ˇ` ˇ ˇ ˇ
26
G2 6ˇ` ˇ ˇ ˇˇ` ÇÇËË ˇ` ÇÇ 6ËË 6ˇ` ˇ ˇ ˇ 6ˇ` ˇ ˇ ˇ
31
G2ˇ`ÇÇ ˇÊÊ
ˇ` ÇÇ ˇ 6ÊÊ ˇ` 6ˇ ˇ 4ˇ ˇ` 6ˇ ˇ 4ˇcresc.
ˇ` 4ˇ ˇ` ˇ ˇ` 4ˇ ˇ` ˇ
37
G2p
4ˇ ˇ ˇcres.
ˇ ˇ ˇ ˇ ˇ 6ˇ ˇ ˇ ˇ ˇ ˇ ˇf
ˇ ˇ ˇ ˇdim.
ˇ ˇ ˇ ˇp
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
41
G2pp
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
45
G2ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ fi ˇ (ˇ ?
10
49
G2 7ff
ˇ ˇ ˇ ˇ ˇ 4ˇ 6ˇ ˇ ˇČČ ˇ ˇ ˇ ˇ ˇ fl ˇ fl ˇ
4eCorde��������������������������������������‰˘
p
ˇ 4ˇ ˇŘŘŘء ˇ ˇ 4ˇ 6ˇ ˇ 6ˇ ˇ
55
G2ˇ ˇÖÖÖÖ ˇ ˇ ˇ
ÖÖÖÖˇ ˇ 4ˇ 6ˇ ˇ ˇ 7 7
ff
ˇ ˇ ˇ ˇ ˇ fl ˇ fl ˇ ˇ ˇ ˇ ˇ ˇ60
G2 ˇ ˇ fiˇ fi ˇ ˇp
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ -ˇ ?p
ˇ ˇ ˇ 4ˇ ˇ ˇ ˇ 4ˇ 6ˇ ˇ (ˇ ? 7 644
65
G44p
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
70
G44 ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ (ˇˇ-ˇ ?
x ˇ-ˇ
75
G44 ?ˇ-ˇ ? ˇ (ˇ ? ˇ
x-ˇ ?
ˇ-ˇ ? ˇ (ˇ ?
x ˇ-ˇ ?
p
ˇ 4-ˇ
82
G44 ?cresc.
ffi ˇ -ˇ ? ˇ -ˇ
f? ˇ -ˇ
ff
6ˇ` ˇ 4ˇ ˇ 6ˇ` 6ˇ ˇ ˇp
2ˇ` ˇ 4ˇ ˇ ˇ fi4ÃÃ ˇ 66289
G2p
6ˇ` ˇ ˇ ˇ 6ˇ` ˇ ˇ ˇ ˇ`ÇÇ ˇÊÊ
ˇ`ÇÇ 6ˇÊÊ 6ˇ` ˇ ˇ ˇ 6ˇ` ˇ ˇ ˇ
95
G2ˇ`ÇÇ ˇÊÊ
ˇ` ÇÇ ˇ 6ÊÊ ˇ` 6ˇ ˇ 4ˇ ˇ` 6ˇ ˇ 4ˇcresc.
ˇ` 6ˇ ˇ` ˇ ˇ` 6ˇ ˇ` ˇ101
G2 flf
ˇ fl4ˇ fl ˇ fl ˇ fl ˇ fl ˇ fl ˇ fl ˇ fl ˇ fl6ˇ fl ˇ fl ˇ fl ˇ fl ˇ fl ˇ fl ˇp
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ .ˇ @ ? >
11
105
G2p@ 2ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
ˇ ˇŁŁŁŁ
ˇ ˇ ˇ 6ÊÊÊÊ ˇ 2ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇŁŁŁŁˇ ˇ ˇÊÊÊÊ
109
G2 6ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 2ˇ ˇ ˇ ˇff
fi ˇ fi ˇ fiŻŻŻŻˇ flˇ flˇ flÕÕÕÕˇ flˇ fl ˇ fl ˇ fi ˇ fi ˇ
fiŻŻŻŻˇ
112
G2ˇÛÛÛÛ ˇ ˇ
ÛÛÛÛˇ ˇłłłł ˇ ˇ ˇ ˇ
ÕÕÕÕ ˇ ˇÕÕÕÕˇ ˇŻŻŻŻ ˇ ˇŻŻŻŻ
ˇ ˇÛÛÛÛ ˇ ˇÃÃÃÃˇ ˇ ˇŻŻŻŻˇ ˇ ˇÕÕÕÕˇ
115
G2 ˇłłłł ˇ ˇłłłł
ˇˇłłłł ˇ ˇłłłł
ˇˇłłłł ˇ ˇÃÃÃÃ
ˇ ˇ ˇŻŻŻŻˇ ˇ ˇÕÕÕÕˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
118
G2 ˇˇ ˇˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ )ˇ @ ? p
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
121
G2 ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
125
G2 ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
128
G2 ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇˇ ˇŁŁŁŁ
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇĎĎĎĎ ˇ ˇ ˇÐÐÐÐ
ˇ ˘132
G2rall.
ˇ ˇ ˇ ˇ ˇ 4ˇĎĎĎĎ (ˇ ? >
in Tempo
p
˘ ˘ ˇ (ˇ ? > rall.
=pizz.
ˇ ˇˇ>
12
G4434Menuet. Allegro vivace. M : ˘` = 96
2
:ff
ˇ fl ˇ flÃÃˇ ˇ ˇ fl ˇ fl
ÃÃˇ ˇ
p
fi ˇ fiŻŻˇ ffiˇ fi ˇ fiŻŻ
ˇ ffiˇ fi ˇ fiŻŻˇ ffiˇ
7
G44 fiˇfiłłˇ ffiˇ fi ˇ fiłł
ˇ ffiˇ fi ˇ fiąąˇ ffiˇ 2
:ffl ˇ flÃÃˇ ˇ ˇ fl ˇ fl
ÃÃˇ ˇ
13
G44 ˇ6ˇ ˇ ˇ ˇ 6ËË ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
ÅÅˇ ˇ > >
17
G44 7 =p
fi ˇ ˇ ˇ ˇ =p
fi ˇ ˇ ˇ ˇ =ff
fiˇ ˇ Éɡ ˇ 4ˇ ˇ ˇ
24
G44 ˘` =p
fi ˇ ˇ ˇ ˇ =p
fi ˇ ˇ ˇ ˇ 2
: flff
ˇ ˇ ÃÃˇ ˇ32
G44 ˇ6ˇ ˇˇ ˇłłˇ ˇ 6ˇ ˇ ˇ ˇ
f
6ˇ > > ˇ 6ˇ ˇ ˇ6ˇŚŚ ˇ
> >37
G44tr˘`
4
ŹŹŹŹ
ˇ =ˇ ˇ ˇ ˇŚŚ ˇ
> >tr˘`
4
ŹŹŹŹ
ˇ =ˇ 6ˇ ˇ ˇ
6ŚŚ
44
G44 ˇ > >tr˘`
4
ŹŹŹŹ
ˇ =ˇ ˇ ˇ ˇ
ˇŚŚ ˇ> >
tr˘`4
ŹŹŹŹ
ˇ =
51
G44 > >ff
ˇŔŔˇ 6ˇ ˇ 6ČČ
ˇ ˇ 6ˇČȡ ˇ ˇ ŔŔ 6ˇ ˇ 6ČČ ˇ 6ˇ ČČ ˇ ˇ 2
ÃÃˇ
56
G44ff
`dim.
˘` ˘` ˘`=
p
fi ˇ 4ˇÃà ˇ = fiˇ ˇÃà ˇ
13
64
G44 3
: =fiˇ ˇÉÉ ˇ = ˇ ˇÉÉ ˇ 2
:p
fi ˇ fi ˇ fiÉÉ fiˇ fi6ˇ fi ˇ fiÉÉ fiˇ
74
G44cresc.
ˇ ˇÃà ˇ ˇ ˇÃà ˇ ˇ ˇÃà ˇ ˇ ˇÃà ˇf
ˇ ˇ ˇ ˇ
79
G44ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 6
; : > >p
2ˇ ˇ >2ˇ
90
G44ˇ
f
ˇ ˇ ˇŁŁˇ ˇ ˇ ˇ ˇ ˇŃŃ
ˇ ˇ> > =
ffˇ Éɡ ˇ ˇ ˇ Éɡ ˇ
96
G44p
fi ˇąąˇ ffiˇ fi ˇ fiąą
ˇ ffiˇ fi ˇ fiąąˇ ffiˇ fi ˇ fiŻŻ
ˇ ffiˇ fi ˇ fiŻŻˇ ffiˇ fi ˇ fiŋŋ
ˇ ffiˇ 2
:ffl ˇ flÉɡ ˇ
103
G44 ˇ flˇ flÈÈˇ ˇ
f
ˇ 6ˇ ˇ ˇ ˇ 6ËË ˇ ˇ ˇ ˇ ˇ ˇ ˝\ ˇ ˇ ˇ ˇ ˇËË
ˇ ˇ >Fin.
> 7 64
108
G4Trio.
espress :p
˘` ˇ ˇ ˇ ˇ ˇ ˇˇ ˇ ˇ ˘` ˇ ˇ ˇ ˇ ˇ ˇ ˇ > > 7
116
G4 7p
˘` ˇ 4ˇ ˇ ˇ ˇ ˇ ˘` ˘` ˇ > > ˘` ˇ 4ˇ ˇ124
G4 ˇ ˇˇ ˘` ˘` ˘` ˛ˇ
fi ˇ fi ˇ fi ˇ ˘`f
˘`p
ˇ ˇ ˇ132
G4 ˇ ˇ ˇˇ ˇ ˇ
p
˘` ˇ ˇ ˇ ˇ ˇ ˇ ˇ>
D.C.
> 7
14
G 68
Finale. Allegro. M : ˇ` = 112
ˇ4
ŔŔŔŔŔŔ
4
ff
ˇ ? > ?2
:p
4ˇ` ˇ` (ˇ ? ? > ? = > ?p4ˇ`
8
G ˘` 6 (ˇ ? p? fi ˇ fi ˇ fi ˇ fi ˇ fi ˇ fiŁŁ
ˇ fiˇ fi ˇ fiŘء ˇ 4-ˇ
ˇ ˇ 6ÄÄ
12
G ˇÄÄ ˛ˇ ˇÄÄ ˇ
x-ˇˇ ˛ˇ ˇ ˇ ˇ ˇŁŁ
ˇ ˇ ˇŰۡ ˇ 4-ˇ
ˇ ˇ 6ÄÄ
16
G ˇÄġ ˇ ˇÄÄ (ˇ ?
ff?ˇˇ
ŽŽŽŽŽŽ
ˇˇ`
2
:ˇˇ
ŽŽŽŽŽŽ
ˇ
ffˇ` > ?
= >ff?ˇˇ
ŽŽŽŽŽŽ
ˇˇ`
23
Gˇˇ
ŽŽŽŽŽŽ
ˇˇ` > ? = >
ff?ˇˇ
ŽŽŽŽŽŽ
ˇˇ`
2
:˛ˇ
p espress.
ˇ ˇ ˇ ˇ` 4ˇ ˇŘء ˛ˇ ˇÄÄ
30
G ˛ˇ ˇ ˇ ˇ ˇ` 4ˇ ˇŘء ˛ˇ ˇÄÄ
cresc.
ˇ` ˇ ˇ ˇ ŹŹŹŹˇ fi ˇ fi ˇ fiÐÐ ˇ` ˇ ˇ fi ˇ fi ˇ fiÐÐ34
G ˇ` ˇ ˇ fi ˇ fi ˇ fiÐÐf
ˇ` ˇ ˇ ˇ` ˇ ˇ ˇ` ˇ ˇ ˇ` ˇ ˇ ˇ` ˇ ˇ ˇ` ˇ ˇ
38
G ˇ` ˇ ˇˇ` ˇ ˇ ˇ` ˇ ˇ ˇ` ˇ ˇ ˇ` ˇ ˇ ˇ` ˇ ˇ -
ˇ? ? > ?
42
G 2
:[p]? ˇÃÃˇ ? ˇ
ÃÃˇ ? ˇ
ÃÃˇ ? ˇ
ÃÃˇ ˇ` fl
ff
ˇ fl ˇ ?pˇ`
15
48
G flff
ˇ fl ˇ ?p
ˇ` flff
ˇ fl ˇ ?p(ˇ ? ? > ?
6
; : > ?f? ˇ ˇ ˇÊÊÊÊˇ
58
G (ˇ ? ?p espress :
fi ˇ fi ˇ fi ˇ fi ˇ fi ˇ fiŁŁˇ fiˇ fi ˇ fiŰŰ
ˇ ˇ 4-ˇˇ ˇ 6˛ˇÄÄ ˇ
ÄÄ ˛ˇ ˇÄÄ
62
G ˇ (ˇ fiˇ fi ˇ fi ˇ fi ˇ fi ˇ fiŁŁˇ fiˇ fi ˇ fiŰŰ
ˇ ˇ 4-ˇfi ˇ fi ˇ fi6ÄÄ fiˇ fiˇ fiÄÄ
ˇ flˇ flˇ flÄÄ
66
G ˇf? ˇ` ĄĄĎĎ
ˇ ˇ` ˇ ˇ ˇ` ˇ ˇ -ˇ ? ?p
ˇ` ˘` (ˇ ? ? > ?71
G = > ?p
ˇ` ˇ ‰ ˇ ‰6ˇ ‰2ˇ ‰ ˇ ‰2ˇ ˇ 2-ˇ > ? =
76
G >f?6ˇ`6ˇ` ˇ ˇ ˇ ˇ ˇ` ˇ` ˇ ˇ ˇ ˇ ˇ` ˇ` ˇ ˇ ˇ ˇ ˇ` ˇ` ˇ ˇ ˇ ˇ ˇ` ˇ` ˇ ˇ ˇ ˇ ˇ` ˇ` ˇ ˇ ˇ ˇ ˇ` ˇ` ˇ ˇ ˇ ˇ
80
Gˇ`ˇ` ˇ ˇ ˇ ˇ ˇ` ˇ` ˇ ˇ ˇ ˇ ˇ` ˇ ˇ ˇ` ˇ ˇ 4ˇ` ˇ ˇ ˇ` ˇ ˇ
f
ˇ ˇ > ?84
Gf
ˇ ˇ > ? > ?p
ˇ Äġ > ?p
4ˇ 4ˇÄÄ
ˇ ? > ?
88
Gcresc.? fl ˇ fl6ĽĽflˇ fl4ˇ flˇ f
4ˇ` ˇ` ˇ` ˇ`x ˇ`-ˇ
? ? =
16
93
G > ?pespress :
ˇ` ˇ` 4ˇĎϡ ˇ` ˇ` ˇ` 4ˇ` ˇ` 4ˇ`
98
Gˇ` ˇ`
p
4ˇ` 4ˇ ˇ 4ÄÄ 4ˇ` 4ˇ` 4ˇ` ˇ` 4ˇ` ˇ`
103
G4ˇ` 4ˇ ˇ 4ÄÄ ˇ` 4ˇ` 6ˇ 4ˇ 4ÄÄ
poco rall :
ˇ 4ˇ 4ÄÄ ˇ ˇ ˇ ˇ ˇ ˇ
107
Gin Tempo.
> ?p
ˇ` ˇ` 4ˇĎϡ ˇ` ˇ` ˇ` 4ˇ` ˇ` 6ˇ` ˇ` ˇ ˇ 4ÄÄ
113
Gˇ` 6ˇ` ˇ` ˇ ˇ 4ÄÄ
p
ˇ` 6ˇ 4ˇ 4ÄÄ ˇ` ˇ` ˇ` 4ˇ` ˇ` ˇ`
119
Gf
4ˇ` ˇ 4ˇ ˇ
dim.
ˇ` 4ˇ ˇ 4ÊÊ ˇ` 4ˇ` fz
f
˘`dim.
˘` ˘`p rall:
ˇ` ˇ 4ˇ 4ÄÄ
126
Gin Tempo.
-ˇ ? ? > ? > ?p
˘` ˇ` ˇ` 4 (ˇ ? ? 4ˇ ˇ 4ˇ
131
G ˇŁŁ 4ˇ 4ˇ 4ŰŰ
ˇ ˇ 4-ˇ ? ˇÃà ˇ 4ˇŘء 4ˇ 4ˇĎĎ
ˇ6
p
trˇ`6
ŹŹŹŹ
ˇ
cresc :
fi6ˇ fi ˇ fi6ÄÄ135
Gtrˇ`
4
ŹŹŹŹ
ˇ
fi ˇ fi ˇ fiÄÄf
trˇ`4
ŹŹŹŹ
ˇ
fi ˇ fi ˇ fiÐÐ trˇ`4
ŹŹŹŹ
ˇ
fi ˇ fi ˇ fi ˇ ˇ ?ff
ˇ` ˇ`ˇ -ˇ ˇ` ˇ` ˇ ˇ ˇ ˇ ˇ ˇ
17
140
G ˇˇ ˇˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ > ?p
6ˇ 4Äġ 4ˇ ? 6ˇ 4Äġ
144
G 4ˇ -ˇ? ffˇ` ˇ` ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
ˇ ˇ ˇ ˇ
148
Gˇˇ ? > ? > ?
p
ˇ ˇ ˇ ˇ ?ff
ˇ` ˇ`ˇ` ˇ` ˇ`ff
ˇ` ˇ`ˇ` ˇ` ˇ` ˇ` ˇ`ˇ` ˇ`
153
G ˇ ˇ ˇ ˇ ˇ ˇˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇˇ ˇ ˇ ˇ ˇ ˇ ˇÃÃ
ˇÃÃ
ˇ ˇ ˇ ˇ ˇ ˇff ritenuto.
ˇÃÃˇ ˇ ˇ
ˇ ˇ ˇ ˇ ˇÅÅÅÅ
ˇ157
Gin Tempo.
(ˇ ? ? > ? = >p?ˇ ˇ 6ÄÄ ˇ
ÄÄ ˛ˇ ˇÄÄ
161
G ˇx-ˇ> ? = > ?
ffi ˇ ˇ ffiÄÄ ˇ ffiÄġ ffiˇ ˇ
ffiÄÄ (ˇ ? ?p
fi ˇ fi ˇ fi ˇ
166
G fiˇ fiˇ fiŁŁˇ fiˇ fi ˇ fiŰŰ
ˇ ˇ 4-ˇfi ˇ fi ˇ 6 fiÄÄ fiˇ fiˇ fiÄÄ ˛ˇ
fi ˇ fi ˇ fiÄÄ ˇ (ˇ fiˇ ˛ˇfi ˇ fi ˇ
170
G fiˇ fiˇ fiŁŁˇ fiˇ fi ˇ fiŰŰ
ˇ ˇ 4-ˇˇ ˇ 6ÄÄ ˇ fiˇ fiÄÄ
ˇ flˇ flˇ flÄÄ (ˇ ?
ff?ˇˇ
ŽŽŽŽŽŽ
ˇˇ ?
174
G > ? ?p
ˇÃà ˇ ˇ ˇ ˇ -ˇ = ?p
ˇ ˇ ˇ ˇ ˇ
178
G -ˇ?
ff?ˇˇ
ŽŽŽŽŽŽ
ˇˇ`
ˇˇ
ŽŽŽŽŽŽ
ˇˇ` > ? ?
p
ˇÃà ˇ ˇ ˇ ˇ-ˇ > ?
18
182
G > ? ?ˇ ˇ ˇ ˇ ˇ
-ˇ? ?
˛ˇ
p espress.
ˇ ˇ ˇ ˇ` 4ˇ ˇŘء ˛ˇ ˇÊÊ
˛ˇ ˇ ˇ ˇ ˇ`187
G 4ˇ ˇŘء ˛ˇ ˇÄÄ
cresc.
ˇ` ˇ ˇ ˇ ŹŹŹŹˇ fi ˇ fi ˇ fiÐÐ ˇ` ˇ ˇ fi ˇ fi ˇ fiÐÐ ˇ` ˇ ˇ fi ˇ fi ˇ fiÐÐ191
Gf
ˇ` ˇ ˇ ˇ` ˇ ˇ ˇ` ˇ ˇ ˇ
` ˇ ˇˇ` ˇ ˇ ˇ` ˇ ˇ ˇ` ˇ ˇ ˇ` ˇ ˇ
195
G ˇ` ˇ ˇˇ` ˇ ˇ ˇ` ˇ ˇ ˇ` ˇ ˇ
ˇ? > ?
p
ˇ` ˇ ˇ ˇ 4ˇ 6ˇ
199
Gˇ ˇ ˇ
-ˇ ? ? ˇ4
ŔŔŔŔŔŔ
4
ff
ˇ`p
ˇ ˇ ˇ ˇÉɡ (ˇ ? ? > ?
pˇ ˇ ˇ ˇ ˇ ˇ Ľ
Ľ204
G (ˇ ? ? ˇ 4ŔŔŔŔŔŔ
4
ff
ˇ`p
ˇ` ˇ ˇ ˇÄÄ -ˇ ?
ff? fl ˇ fl ˇ ?
p
ˇ` ˇ` ˇ` ˇ` flff
ˇ flˇ ˇ ?p
ˇ` ˇ`209
G ˇ`ˇ` flff
ˇ flˇ ˇ ?p
ˇ (ˇ ? -ˇ 4ˇ ˇÄÄ ffiˇŁŁ
ˇ 4ˇ ˇÄÄ ffiˇŁŁˇ 4ˇ ˇÄÄ
213
G ˇĎϡˇ
ŹŹŹŹ
ˇ ffi ˇĎϡ
ˇ
ŹŹŹŹ
ˇ ffi ˇĎϡˇ
ŹŹŹŹ
ˇ ffi ˇĎϡ-ˇ ? ? > ? ?
cresc :
ı ˇ ıŔŔıˇ ı4ˇ ıˇ
f
ˇ` ˇ`218
Gˇ`ˇ` > ?
fz
ˇ`4ˇ` ˇ` > ?fz
ˇ`4ˇ` ˇ` > ?fz
ˇ`4ˇ` ˇ` > ?dim.
ˇ`x
rall.
ˇ`-ˇ? ?
224
Gin Tempo.
> ?p
ˇ` ˇ` 4ˇĎϡ ˇ` ˇ` ˇ` 4ˇ` ˇ` 4ˇ`
19
229
G ˇ` ˇ` 4ˇ` ˇ ˇ 4ÄÄ
ˇ 4ˇ` 4ˇ` 4ˇ` ˇ` 4ˇ` x ˇ`
234
G 4ˇ` 4ˇ ˇ 4ÊÊ ˘` ˇ` 4ˇ` 6ˇ 4ˇÄÄpoco rall.ˇ 4ÄÄ ˇ ˇ ˇ ˇ ˇ ˇ
239
Gin Tempo
> ?p
ffi ˇ` ˇ` 6ˇ ˇŁŁˇ ˇ` ˇ` ˇ` ˇ` ˇ` 6ˇ` ˇ` ˇ ˇ 4ÊÊ ˇ` 6ˇ`
246
G ˇ` ˇ ˇ 4ÉÉp
ˇ` ˝^ ˇÉÉ ˇ`cresc.
ˇ` ˇ` ˇ` ˇ` ˇ`f
ˇ` ˇ ˇ ˇdim.
ˇ` ˇÏÏ253
G ˇ` trˇ`ˇ
ŹŹŹŹ
ˇ
p
ˇ` ˇ` ˘`f
ˇ` ˇÏÏ ˇ` ˇ`
p cresc.
ˇ` ffi ˇ` ˇ` ˇ` ˇ` ˛ˇ
f
ˇ ˇ ˇ
261
G ˇ` ˛ˇ
dim.
ˇ 4ˇ ˇ ˇ` ˇ`pespress :
(ˇ ˇ ˇ 4ˇ 6ÄÄ -ˇˇ ˇ 4ÄÄ -ˇ
ffiˇ ˇÐÐ
266
G -ˇffiˇ ˇÉÉ -ˇ
ffi ˇ ˇ 2ˇ ˇ ˛ˇ 4ˇ 4ˇ ˇ ˇ` ˇ` ˇ ŹŹŹŹˇ ˇÉÉp
(ˇ ˇ ˇ 4ÉÉ -ˇˇ ˇ 4ÉÉ
272
G -ˇffiˇ ˇÐÐ -ˇ
ffiˇ ˇÄÄ -ˇ
ffi ˇ ˇ 2ˇ ˇ ˛ˇ 4ˇ 4ˇ ˇ x ˇ` ˇ`ˇ
śśśś
ˇ
fi ˇ fi ˇ fiÄÄ277
Gpoco piu Allegro.
f
fi ˇ fi ˇ fiĎϡ fiˇ fiˇ fiĎĎ
ˇ fiˇ fi4ˇ fiŁŁˇ fiˇ fi ˇ fi ˇ fi ˇ fi ˇ fiÜÜ fiˇ fiˇ fiĎĎ
ˇ fiˇ fi4ˇ fiÐÐfiˇ fiˇ fiĎϡ
281
G fiˇfiˇĎĎ ˇ fiˇĎĎ ˇ fiˇĎĎ ˇ fiˇĎĎ -ˇ ? ?
ffˇ`ˇ`ˇ` ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ -ˇ ? ? > ?
20
286
G ? ˇˇ ˇĎĎĎĎ
ˇ-ˇ ˇ ˇÊÊÊÊˇ
f
ˇĎϡ ˇĎĎ
ˇ ˇ 4ˇŁŁˇ ˇ ˇ ˇ
289
GˇÜÜ ˇĎĎ
ˇ ˇ 4ÐÐ ˇĎϡ ˇ ˇˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
293
G ˇ-ˇ ? ?
ff
ˇ` ˇ` ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ-ˇ ? ? > ?
2
p
ˇ ˇ ˇ 2ˇ-ˇ
297
G2 ˇ ˇ ˇ 2ˇ fi
-ˇ2
cresc.
fi ˇ fi ˇ fi ˇ fi2ˇ fi ˇ fiÄÄ2 fi ˇ fi ˇ fi ˇ 2ˇ`
f
ˇ 2-ˇ ˇ -ˇ
301
G2ˇ -ˇ ˛ˇ
ˇ-ˇ
dim.
2ˇ -ˇ ˇ -ˇ 2ˇ -ˇp
ˇ` ˘` ˇ`pp
4ˇ`
306
Gˇ` 6ˇ` ˇ` ˇ` ˇ` 4ˇ` ˇ` 6ˇ`
cresc.
ˇ` 4ˇ` ˇ` ˇ ˛ˇ ˇ ˇ
312
Gf
ˇ`ˇ`ˇ` ˇ`2ˇ` ˇ` ˇ` ˇ` ˇ` tr
ˇ`4
ŹŹŹŹ
ˇ
ˇ` 4ˇ`ˇ` ˇ` ˇ (ˇ ? ? flffˇ fl ˇ fl ˇ
317
G flˇ flˇ flŁŁ flˇ flˇ fl
ŰŰ (ˇ ? ? ˇˇ4-ˇ? ? ˇˇ -
ˇ? ? 4-ˇ? ? ˇˇ -
ˇ? ? > ?
321
G ? ˇ ˇÊÊÊÊ -ˇ ˇ ˇ ˇÊÊÊÊˇ (ˇ ? ? > ? ff
(ˇ ˇ (ˇ (ˇ ? ?ˇˇ -ˇ?
Fine.
?
Revisions
The present edition is based on a photocopy of the original edition which
was published by Henry Lemoine, cotage 2938 HL. Every attempt has been
made to be faithful to the original, although the original page breaks have not
been indicated. Notation has been brought into line with accepted standards of
modern typesetting as set out in Music Notation a Manual of Modern Practice
by Gardner Read; for example, accidentals which are missing on notes which
appeared at a different octave earlier in the bar have been added.
First Movement:
Bar 57, violin: no hairpin.
Bar 58, violin: crescendo hairpin.
Bar 118, violin: second note is b44 flat in violin, b44 natural in score.
Bar 134: violin has a44 flat where the score has c45.
Bar 166: violin in the score has r4 f25s e4.
Bar 220: violin (r4 g44 a ds-) and score (r4 g44 c ds-) are inconsistent.
Bar 304, violin: sharp on g45, no sharp on d45.
Bar 340: first not of the violin is e46 where the score has c46.
Bar 349: violin in the score starts with a quarter followed by two eighths.
Bars 352, 354, score: violin has trills, not mordents.
Second Movement:
Bars 25, 26, score: violin has fz at the beginning of these bars.
Bars 32 and 96, piano left hand: the original rhythm has preserved.
Third Movement:
Repeats are as in the violin part.
Fourth Movement:
Bar 13: the violin in the score has b44 e84.
Bar 138, score: the lower two notes of the chord in the violin are missing.
Bars 141–2, piano: the two releases of the pedal are as in the original.
Bar 144, score: the lower note of the chord in the violin is missing.
Bar 156, piano: original shows marcato rather than ritenuto.
Bars 208–210: upper octave of violin eighths are missing in the score.
Bar 276: ends with a thin-thick bar line.
Editorial Note: Pascal Beyls in his book Henri Bertini pianiste virtuose,
compositeur de musique indicates that this sonata was published in 1844.
It was dedicated to the celebrated French violinist Jean-Delphin Allard
(1815–1888).
Approximate timings without repeats:
First movement: 7:00.
Second movement: 4:50.
Third movement: 1:25.
Fourth movement: 5:45.
James L. Bailey
College of the Rockies
Cranbrook, BC, Canada
November 9, 2012