Senior Honors Harp Recital
An Honors Thesis (Honr 499/MUSPE 498)
by
Kelly Kathleen Miller
Thesis Advisor
Elizabeth Richter
1(i~lL-~ Rz,>~
Ball State University
Muncie, Indiana
December 2001
Graduation date- December 16, 2001
KELLY MILLER
harp
ina
SENIOR HONORS RECITAL
assisted by
Erin McMullen, flute
Rachel Browne, harp
Sonata in D Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. John Parry
Allegro
(1710-1782)
Andante
Gavotte
Siciliana (from a 16th century lute piece) ................. Ottorino Respighi
(1879-1936)
trans. Marcel Grandjany
Haru no Umi (The Sea in Spring) ......................... Michio Miyagi
(1894-1956)
arr. Josef Molnar
Erin McMullen
... Intermission . . .
La Nursery ................................. Desire Emile Inghelbrecht
Petit Papa
(1880-1965)
Eglogue (Pastoral Poem)
trans. Dewey Owens
Ballade du Petit Jesus
Am-Stram-Gram
Rachel Browne
Impromptu-Caprice .................................... Gabriel Pieme
(1863-1937)
Kelly Miller is a student of Elizabeth Richter.
This recital is presented in partial fulfillment of the
requirements for the Honors Program at Ball State University.
PRUIS HALL
Sunday, December2,2001
3:00 p.m.
Series LVI
Number 71
In keeping with copyright and artist agreements, use of recording
and photographic devices is not permitted by other than approved personnel.
We request your cooperation.
For performance information, call the School of Music Concert HotLine: (765)285-5878.
;,.
.,
The harp is indubitably one of the oldest instruments in the world. Early
Mesopotamian carvings, around 3000 BC, give us some of the first images of what would
become the instrument used in the recital you are about to listen t0
1
.
Although a great
many changes have occurred to the physical body of the harp, most of that discussion will
be left for another time. This paper will attempt to give some brief music history directly
related to the pieces being heard, and a short look at some of the musical aspects of the
pieces themselves. The pieces performed on my recital display a wide variety of
techniques and styles, as well as different methods of harmonic development, which
place these works in multiple periods of music history. This paper will serve as a guide
in this little journey through harp history.
The first piece played on the recital is a Sonata in D Major by John Parry (17101782). John Parry's life encompasses two different aspects of British harp history. Most
importantly, he represents the end of a long line of blind harpists in the British Isles. It
has long been a tradition, both in Wales and in Ireland, for the blind to be trained as
harpers. Across the sea in Ireland the most famous harper Tourlough 0' Caroloan. As
the harper to the Prince of Wales, who would later become King George III, John Parry
was part of an ancient tradition of court harpers in Wales. It is most likely that he wrote
the Sonata in D Major for the triple strung Welsh harp, which had been played for over a
hundred years before his birth. The triple strung harp had originated in Italy but had
finally taken hold in Wales around 1600. This harp had no lever devices to raise or lower
the pitch of a string. Instead, there were three different sets of strings. The outer two sets
were turned to the whole notes of the scale and were the same pitch on both sides. The
1 Roslyn Rench, The Harp: Its History, Technique and Repertoire (New York: Praeger Publishers, 1969)
p3
2
-
middle set of strings was offset from the outer two, allowing the player to reach between
the outer strings to play them. This inner row of strings was turned to the half step
intervals, which enabled the player to have a chromatic harp long before the double
action pedal harp was invented2 . While this instrument may look daunting to modem
harpist, it enabled Welsh harpers to perform with relative ease the quick trills and internal
3
piece modulations that were standard to Baroque music. Parry's work contains many
Welsh traditional tunes; however, he wrote them down in a distinctly Baroque style. His
music shares many similarities with the music of George Frederick Handel, whom he
knew. 4 The Sonata in D Major, while an original piece, shows clearly the hallmarks of
the Baroque style.
The standard Baroque sonata has three movements and Parry's makes no
deviation from this. The first movement is an Allegro and opens with three triumphant
chords to announce the I and V chords in the key ofD major. After a short scalar
passage the I and V chords return in the form of arpeggiated right hand material.
Measures 7 and 8 present yet another telling mark of Baroque writing, Alberti bass in the
left hand and terraced dynamics. 5 At measure 20 there begins a brief tonicization of A
major, the dominant in D, for 5 measures. Measure 31 brings a solid restatement ofthe
opening theme in A major. Measures 41-48 lead us sequentially back to D Major. The
restatement of the theme is exact for six measures, but then it breaks off into what could
Roslyn Rench, Harps & Harpists (London: Gerald Duckworth & Co. Ltd., 1989) P 90
The Welsh harp was always played resting on the left shoulder, whereas modern harps are played resting
on the right. The switch of shoulders is credited to the increasing use of keyboard instrument and the
gradually association of the right hand with the treble range of an instrument. Robin Huw Bowen, The
Welsh Triple Harp (Sweet Bird Classics, University of New Mexico, 2000)
4 Owain Edwards, The New Grove Dictionary o:fMusic and Musician, vol. 14, Parry. John (London:
Macmillan Publishers Limited, 1980)p 245
5 Some crescendos are present in the performance and in some editions of this piece, these were added by
the editors and performer and are not strictly in keeping with Baroque dynamics.
2
3
3
-
be considered coda material. This is not new thematic material but short excerpts from
earlier in the movement. After six measures of climactic build up, the movement ends
with the satisfying I -V-J chords that began the movement.
The second movement is an andante in b minor, the relative minor, which is
standard practice for Baroque second movements. The % time signature gives a starkly
different feel from the 4/4 in the first movement allegro. The opening eight-bar theme
can be easily broken into two four-bar question-and-answer phrases. Measures 9-12
mark a brief turn away from the key and then back to it with a restatement of the opening
theme in measure 13. Parry gives us a resting point in measure 20 and then in 21 starts
an unmarked double section. As is true of most doubles the harmonic progression is the
same as previously stated, but the melodic line used to convey this progression is either
different or altered. In this instance Parry switches from the use of quarter notes and
eighth notes to the steady use of sixteenth notes. Parry also introduces new melodic
material, which bounces gracefully from the right to left hand throughout the double
section.
The third movement is back in D major, a cheerful gavotte in cut time. Using
dance forms as models for movements was a popular device used by composers during
the Baroque period, and Parry was apparently no exception. While the opening theme is
firmly in D major Parry does take a slight detour for a brieftonicization ofb minor in
measures 10-18. This movement is also a double; however, unlike the second movement,
Parry reuses not only the harmonic progression from the first section but, also, a great
deal of the melodic curvature, so that the aurally the double sounds something like a very
ornamented version of the first section. The last bar of this movement, and also the
4
Sonata, as a whole, is a good example of Baroque writing in that the down beat does not
emphasize D. A suspension is used which leads into D. To the modem ear this may
appear odd; however, it was common practice for the performer to add ornamentation and
the final note of a piece would call for a grand flourish, which when added; would give a
very satisfactory end to Parry's Sonata in D Major.
The Siciliana by Ottorino Respighi (1879-1936) has its origins long before Parry's
music. The original tune, which Respighi used in his suite Antiche Arie e Danze
(Ancient Airs and Dances), was an original 16th century lute piece attributed to Vincenzo
6
Galilei, father of the astronomer Galileo. Although the lush harmonies bear the
distinctive sound of Resphigi, it is the later work of harpist Marcel Grandjany(l 8911975) and his transcription that is specific to this paper. Grandjany received a great deal
of criticism for his transcriptions, not only ofResphigi but of other composer's works.
This angered him so much that he wrote a formal defense. His defense centered on two
points. First, there was a prescient in that some very honored composers had transcribed
not only their own work but other composers as well. Second, the composer's concern
with instrumental color is a new phenomenon, so historical music can be realized on
different instruments without going against the composers wishes for a piece. 7 It was
with this logic that Grandjany frequently performed the Siciliana, including on his first
concert in the United States, on February 9, 1924.
8
One of the things that made Grandjany a talented composer for the harp was the
fact that he was himself a great harpist and understood the instrument well. The harp that
6 John C. G. Water house, The New Grove Dictionary ofMusic and Musicians, vol. 15, Respighi, Ottorino
(London: Macmillan Publishers Limited, 1990)p.757
7 Ruth K. Ingllefield, Marcel Grandjany: Concert Harpist, Composer and Teacher (Washington DC.:
University of America Press, 1979) 69
5
-
he understood, however, was not the harp of Parry's day, it was the modem double action
pedal harp. A brief discussion of the a few characteristics of modem pedal harp wil1 aid
in the appreciation of Grandjany's writing for the instrument.
Sebastien Erard (1752-1831) was the first to get a patent for the pedal harp, which
he received in London in 1792. Erard developed a substitute for the many previous
systems, including multiple sets of strings, to obtain accidentals. He used two forks, or
discs, which pressed in on both sides of the string, shortening it and raising the pitch. In
1810 Erard returned to Paris and used the idea of discs matched with a double-action on
the pedals. 9 The advances to the harp were not confined to pedals and discs. With the
addition of pedals the harp had to be free standing and so a larger base with four feet was
added. The neck had to be altered to hold the new mechanism but not distort the
harmonic curve. The column stayed fairly narrow despite the rods that ran through it to
connect the discs and the pedals. The soundboards changed dramatically, from very
narrow all the way down, to almost triangular in shape with a narrow top and a wide
bottom near the base. 10 These new harps could produce a rich full sound, and were
capable of the greater dynamic ranges favored by Romantic and Twentieth-century
composers.
Grandjany's transcription of Siciliana is a showpiece for the modem double
action pedal harp. He makes use of some of the harp's many special effects. This begins
almost immediately in the piece. The opening eight-bar theme is exactly repeated near
the soundboard, which allows the harp to take on a guitar-like quality. He mixes this
8lbid.p 39
9 9 Roslyn Rensch, Harps and Harpists (Bloomington: Indiana University Press, 1989) p 156
to Roslyn Rensch, The Harp: lIs History, Technique and Repertoire (New York: Praeger Publishers, 1969)
p.99
6
--
sound with the sound of the strings played in the middle later in the piece. He also adds a
bel1-like color to the piece through the use of harmonics. The piece in its entirety can
been seen as a small set of variations on the opening theme, but unlike Baroque or
Classical variations works it contains a certain improvisational feel. This is not
surprising, considering that it was said about Grandjany. "Those who knew him well
remembered times when he would improvise magically and beautifully on either the harp
or piano." 11 The pieces passes through four distinct sections, or variations, where
different traits of the harp are emphasized. The opening theme makes use of large rolled
chords and the technique of playing near the sound board. The second section, which
begins at measure 41, gives a woven texture of constantly descending eight notes through
the theme. Measure 65 brings a new section and a total break with the previous textures.
In this section rapidly ascending and descending runs offset huge rolled chords which
state the theme. These runs show off the performer's skill at smooth finger crossovers
and also the harp's ability to give clear rapid movement in a linear melodic line. In a very
dramatic gesture Grandjany ends this section with a massive run to the bottom end of the
harp, and out of the last open octave comes the last section. This section has some
similarities to the second section or variation in the constantly descending eighth note
texture, but Grandjany adds yet another voice to make this a three part counterpoint
section. He uses the special sonority of harmonics to cut through other motion to make
sure this third voice, in the left hand, is heard over the thick texture of the right hand.
After the theme has been restated he gives it to the descending eight notes to die away in
the low register alone and bring the piece to conclusion.
11 Ruth K. Ingllefield, Marcel Grandjany: Concert Harpist, Composer and Teacher (Washington D.C.:
University of America Press, 1979) p7
7
Michio Miyagi (1894-1956) lived, like Parry, on the end of one time and the
beginning of another in Japan. His life as well as his music reflect that combination.
Miyagi was totally blind by the age of 7. Although his music would be written for
Japanese instruments with a distinctly Japanese sound, his career would eventually carry
him from his native Japan, to Korea and, ultimately, to Europe. Originally trained as a
performer on the 13 string koto, he became better known as a composer, and as the cofounder of the Shin Nihan Ongaku (New Japanese Music Movement) in 1920. As a
composer and co founder he strongly supported mixing western style ensembles and
instruments with traditional Japanese musical styles. Although Haro no Umi (The Sea in
Spring) was originally written for koto and shakuhachi in 1929, he most likely would
have approved of its arrangement for flute and harp. 12 The koto is a Japanese instrument.
It is made of a six-foot long wooden board with movable bridges supporting the thirteen
strings, which are plucked with three ivory picks worn on the right hand. 13 The
shakuhachi is a Japanese bamboo flute.
14
It was arranged by Josef Molnar (b. 1890), an
Austrian harpist who settled in Japan, and who is responsible for the development of a
Japanese school of harp playing. 15 It is not the arrangement of the piece that makes it
significant in harp literature, but its representation of the influence of eastern musical
sounds on harp music in the twenty century.
The piece is built on one of the pentatonic scales used in Japanese music. The
whole tone nature of the melody is evident in the opening bars of the piece where the
harp announces the first theme. The first two measures when played near the soundboard
12 Masakata Kanazawa, The New Grove Dictionary ofMusic and Musicians, vol. 12, Miyagi, Michio
(London: Macmillan Publishers Limited, 1990) p 371
13 bttP/L~~.lU~J..illli!!LorglLi~ile~~ll(.s/k_~?JQJHmJ " Matsuri Profile"
14 bJlp;/!ww~\J-;~)muS9~_~)mDi}Q~~Jltml " The International Shakuhachi Society"
8
-
to give the effect of a koto. In the opening section, measures 1-26, the harp, while having
its own distinctive melody, acts more as a harmonic support to the flute line. At the
Allegro marking, measure 27, there is not only a tempo change, but a change in roles. In
this section, the two instruments will volley a new sixteenth note theme back and forth
between them. This sudden change in tempo, texture, and also scale is more of a western
technique, which Miyagi brought to his music from his extensive studies. 16 Inside this
Allegro section there is a great deal of recycled melodic material. For instance, The
interval combination in the treble line of the harp part in measure 27 is heard in this form
or its inverse at least 11 times. Although this thematic usage of melodic material is clear
to the listener, there appears to be no definite order to what material will reappear in what
order during the Allegro section. At measure 93 there is a Tempo 1 marking and a return
to the opening section of the work. Until measure 109, the repetition of the opening
section is exact. If this section is considered as a coda, then measures 109-112 could be
considered as a slight remembrance of the allegro section with its call and response
feeling between the two instruments. From measures 113 to the end of the piece, the
repetition from the beginning is the same with an expanded molto ritardano. The A-B-A
(coda) format of this piece is a clear mark of western music on the eastern style of
Miyagi.
La Nursery is one of the better known works by Desire Inghelbrecht. Originally a
piano piece (1905-11), the composer subsequently orchestrated La Nursery. As a young
student Inghelbrecht was forced to leave the Conservatory in Paris for" musical
15 Ann Griffiths, The New Grove Dictionary of Music and Musicians, vol. 12, Molnar, Josef (London:
Macmillan Publishers Limited, 1990)p. 472
16 Eta Harich-Schneider, A History of Japanese Music (London: Oxford Press, 1973) 592
9
-
ineptitude".!7 He was a friend of Debussy's and conducted the premiere performances of
the latter's La Martyre de St. Sebastien. He wrote several articles on how to play
Debussy.I8 Along with these, he wrote an article on "how not to play." He was deeply
afraid that in new age of phonographs, performers would become rigid in their
interpretation of music and would play poorly because of poor recordings. 19 He was also
a great supporter of the work of Ravel and Roussel. Their influence can be heard in his
misty use of tonality, popular with French Impressionist composers. The movements in
La Nursery are based on French nursery rhymes and folk songs.
20
Dewey Owens
arranged La Nursery for two harps. There are 12 movements in the entire piece; but only
four were preformed on this recital, and they were not performed in the order they appear
in La Nursery.
The first movement, Petit Papa, has the main melodic idea captured in the first
harp part. The melodic line is simplistic and it is easy to imagine a smal1 child singing it.
This trait holds true for most of the movements in this work. This movement is a good
introduction to Inghelbrecht's use oftonality and unusual harmonic progressions. The
movement is set in Ab major, which, although he tonizies other key areas, he returns to at
the end of the movement. However, in the last measure of the movement, where a firm
declaration of the key would be expected, he throws in a #iv. This chord could be view
as part of a four notes chromatic ascent to the Ab chord, which ends the piece. In both
cases this is hardly the declarative I-V-I of Parry's Baroque music.
17 Arthur Hoeree, The New Grove Dictionary ofMusic and Musicians, vol. 9, Inghelbrecht, Desire-Emile
(London: Macmillan Publishers Limited, 1990)p 229
18 James R. Briscoe, ed., Debus~y in Performance, How not to Perform Pe/teas et Melisande by DesireEmile lnghelbrecht (New Haven: Yale Universtiy Press, 1999)p157
19 lbid. P 158
20 Arthur Hoeree, The New Grove Dictionary of Music and Musicians, vol. 9, Inghelbrecht, Desirt!-Emile
(London: Macmillan Publishers Limited, 1990)p 229
10
-
The second movement played on this recital is entitled Eglogue (pastoral Poem).
The used of pastoral scenes in Impressionistic music and art is a common theme.
Inghelbrecht uses a swaying 6/8-meter to give a picture of rolling hills to the listener.
Modulations and tonicizations in these tiny movements abound. In this movement
Inghelbrecht moves from c minor to C# minor and back to c minor.
The third movement, entitled Ballade du Petit Jesus, is perhaps the gentlest of the
four movements performed on this recital. It, like Petit Papa has a "singable" melody
and an almost lullaby feel to it. To add to the simplistic feel of the lullaby, Inghelbrecht
keeps the harmonies more stable, if not predictable. The movement moves from F major
to d minor, which ends this little lullaby.
The last movement performed on this recital is Am-Stram-Gram. This appears to
be a nonsense word as no translation of this text can be found. It is a fast, exhilarating
movement, slightly longer than the others. Little sections containing a soft dance-like
melody offset the brisk opening theme. The sense of contrast between the two sections is
aided by the fact that Inghelbrecht uses increased chromatism and dynamics in the
quicker sections and more stable tonality and dynamics in the dance-like sections.
The final work in the recital is lmpromptu- Caprice by Gabriel Pieme (18631937). Pieme graduated from the Conservatory in Paris where he studied composition
with Cesar Franck. He gained a great reputation for both his composing and for his
impeccable conducting. His music for harp shows offboth his serious nature, which was
encouraged by Franck, and his more sensual side, which developed during his extensive
11
studies with Jules Massenet. 2l His ability to move from one emotion to the next
smoothly and quickly is demonstrated in the Impromptu-Caprice.
The improvisatory nature of this piece is clearly demonstrated on the opening
page of the score, which has no bar lines. The tempo marking is only "Ad libtum." The
huge range in dynamics, from/to pp. places this piece in the romantic period of music
history. The huge opening Ab major arpeggio and tril1 are countered in the next phrase
with a corresponding arpeggio and trill in ab minor. The arching melody begins with the
6/8 meter and is supported by eighteenth note arpeggiation, which runs from the left hand
into the right hand to hold up the harmony. While the melody is firmly in Ah major, the
harmony that Pieme used to underlie it is hardly the stable I-V-I of Parry's work. In
measures 14 and again in measure 16 of the allegretto moderato section he uses Eb as a
non-chord tone. In measure 21 of that same section he uses a minor iii in Ab major to
harmonize the Bh. This flexible use of tonality continues throughout the piece. At
measure 41 there is another improvisatory section marked" Ad Lib." Here some of the
same thematic material as the opening is used, but this time it is used as a modulatory
device to shift the tonality from Ab major to Eb major. This caprice section is in a
spritely 3/8 meter and has a slightly classical feel about it, in that the melody attempts to
fit into neat 2 bar phrases. The classical stability is, however, interrupted, by the repeated
descending staccato chords in measures 42-43 and 51-52. Perine continues to break
down the caprice melody until, by measure 75, it is mainly the rhythmic theme that is still
being manipulated. At measure 104 a new section marked rythme begins. Here there is a
rapid interplay between the F# major triad and the G major triad. The interplay bounces
21 David Cox, The New Grove Dictionary ofMusic and Musicians. vol., 14, Pieme, Gabriel (London:
Macmillan Publishers Limited, 1990)p 736
12
-
back and forth, but generally winds its way down the harp until it reach an open octave G
in measure 116. There is a tiny bridge in which the key of Ab major is once again
announced, but the restatement of the opening melody begins in earnest in measure 121.
While basic harmonization remains the same in the restatement Peirne changes the way
in which the aggregation underneath is written to give the sound of a melody that has
been altered by its travels through the piece, stin recognizable, but different. Measure
145 begins what could be termed a coda, but a coda in the Romantic sense, since he
introduces some new melodic material in measure 145-150. The pieces ends with great
flourishes and huge rolled chords which leave both the listener and performer a bit
breathless.
The pieces in this recital represent a wide range of musical styles and periods.
The Sonata in D Major, by John Parry, represents the Baroque period. Respighi's
Siciliana with the help of Grandjany is a good example of Romanticism. Haur no Umi,
by Michio Miyagi, is a good example of the mixing of eastern and western music.
Igelbrecht's La Nursery showed some of the distinguishing features ofImpressionistic
music. The Impromptu-Caprice by Pieme gives a wonderful example of the contrasting
emotions typical of French Romantic music. This recital also gave a small look into the
some ofthe different ways to play the harp to achieve different effects. Knowing this
information will hopefully give the listener added enjoyment and appreciation of the
music in this recital.
-
Bibliography
Bowen, Robin Huw. The Welsh Triple Harp. Sweet Bird Classics, University of New
Mexico, 2000.
Briscoe, James R. edited Debussy in Performance, How not to Perform Pelleas et
Melisande by Desire-Emile Inghelbrecht New Haven: Yale University Press,
1999.
Cox, David. The New Grove Dictionary of Music and Musicians. Vol.,14. Pierne,
Gabriel. London: Macmillan Publishers Limited, 1990.
Edwards,Owain. The New Grove Dictionary of Music and Musician. Vol. 14. Parry,
John London: Macmillan Publishers Limited, 1980.
Griffihs, Ann. The New Grove Dictionary ofMusic and Musicians. Vol. 12. Molnar,
Josef London: Macmillan Publishers Limited, 1990.
Harich-Schneider, Eta. A History ofJapanese AIusic. London: Oxford Press, 1973.
Hoeree, Athur. The New Grove Dictionary ofMusic and Musicians. Vol. 9.
Inghelbrecht, Desire-Emile London: Macmillan Publishers Limited, 1990.
Ingllefield, Ruth K. Marcel Grandjany: Concert Harpist. Composer and Teacher.
Washington D.C.: University of America Press, 1979.
Kanazawa, Masakata. The New Grove Dictionary of Music and Musicians. Vol. 12.
Miyagi, Michio London: Macmillan Publishers Limited, 1990.
Rensch, Roslyn. Harps and Harpists. Bloomington: Indiana University Press, 1989.
Roslyn Rench, The Harp: Its History, Technique and Repertoire New York: Praeger
Publishers, 1969.
Waterhouse, John C. G. The New Grove Dictionary ofMusic and Musicians. Vol. 15.
Re/jpighi. Gftorino London: Macmi11an Publishers Limited, 1990.
Program Notes
Kelly Miller, harp
Senior Honors Recital
With Erin McMullen, flute
And
Rachel Browne, harp
Pruis Hall- Sunday, December 2,2001- 3:00p.m.
John Parry's life encompasses two different aspects of British harp history. Most importantly, he
represents the end of a long line of blind harpists in the British Isles. As the harper to the Prince of
Wales he was also part of an ancient tradition of court harpers in Wales. It is most likely that he wrote
the Sonata in D Major for the triple strung Welsh harp, which had been played for over a hundred
years before his birth. While Parry represents a rich Welsh heritage, his music is distinctly Baroque,
sharing similarities with the music of George Frederick Handel, whom he knew.
This Siciliana for harp has descended through many great musical hands before reaching its present
form. The original 16th century lute piece is attributed to Vincenzo Galilei, father of the astronomer
Galileo. Ottorino Respighi transcribed it, along with several other 16th century dance pieces, into his
suite Antiche Arie e Danze (Ancient Arias and Dances) in 1917. Later, the eminent harpist Marcel
Grandjany transcribed this movement for harp. His transcription makes use of the ability of the harp
to take on a "guitar" quality when the strings are played near the sound board. He also adds a bell-like
color to the piece through the use of harmonics.
Michio Miyagi was totally blind by the age of 7. He, like Parry, achieved great success in the field of
music. His career would eventually carry him from his native Japan to Korea and, ultimately, to
Europe. Originally trained as a performer on the 13 string koto, he became better known as a
composer, and as the co-founder of Shin Nihan Ongaku (New Japanese Music Movement) in 1920.
Haro no Umi was originally written for koto and shakuhachi in 1929. It was arranged, for flute and
harp, by Josef Molnar, an Austrian harpist who settled in Japan, and who is responsible for the
development of a Japanese school of harp playing.
La Nursery is one of the more well known works by Desire Ingelbrecht. Originally a piano piece
(1905-11) La Nursery was subsequently orchestrated by the composer. It was a friend of Debussy's
and conducted the premiere performances of the latter's La Martyre de St. Sebastien. He was also a
great supporter of the work of Ravel and Roussel. Their influence can be heard in his misty use of
tonality, popular with French Impressionist composers. The movements in this work are based on
French nursery rhymes and folk songs.
Gabriel Pieme graduated from the Conservatory in Paris where he studied composition with Cesar
Franck. He gained a great reputation for both his composing and for his impeccable conducting. His
music for harp shows off both his serious nature which was encouraged by Franck, and his more
sensual side, which developed during his extensive studies with Jules Massenet. His ability to move
from one emotion to the next smoothly and quickly is demonstrated in the Impromptu-Caprice.
SONATA in 0 major
Edited by
David Watkins
. ,,
#~~
.f-:/O'f
Allegro
J=c10~
¥
John PARRY
1710?-1782
llO~\;,le ~
:l " .. I
I -'.
5
VI2
.. I
....
..
3
t,
.. '. .
, +
.~
..-5_
••
I
+
4
t
•
-
Music © 1973 assigned by the Editor to Stainer & Bell Ltd, 23 Gruneisen Road, London N3 1DZ
.3
;l..
I
...J
6
2
3
+
~
C~
!
-'
"---! \, - IL :" . .
-
I
1,
2
~--L
~, cr_ •
1
2
I
~
2
3
2
3
3
3
4
~
r l.,
•
•
GI
CI
_<rUt
I
,.
."
I..~
.,
.,w
~
II ...
\. J
.....
J
.,
'[
-- - ------ !.,.
~ .JJ.
J
'j
-•
-
I
I:::i:::I
~-
---
~
~
,
~
., ...
\
•
_
.,
&I
~
-,
~
~
•
•
I:i
---
~
1_
P
~
~_tL
I
.....
.,
I
.
~
l
...
•
---- -- --- - !
-- ----- I ~
A
~
It
1/
~
~
G_
--'--,
i
f
•,
1;/-11,
c/t<.:C
7
i
r---l
3
2 1
24
f
_c r ese..
- I
2.
-3
.~
~
t1
. .. .
.-
.i;~Jd~. I
..,.. -,.
,'
,
...
I
•
•
11
:..i~.-
.
\
3
.-
,......
1
-
,..
~
-
-
4
3
, __
1
~
1
2
I
.
eo
~L J
+
n
•
.
t)~
2
... p
~
,
2
II·"'"
2
...
==
2
-
.
-
.
IL +
/
•
•
1.1
:3
,---..:.
1-
-I'..,, .
1\
trW'
'7
1::=
+
+
+
bbd
.
- •
.)
.
.. ..
_.-
-:;;
1'==
w
--
+
.~
.:.
2
w
3
~o...I.
...~
•
-::;
-~
====
...
~
1:-=
•
3
~
01,..
.!
+
~
+
,
F~
~
.......
....
p-
--
~
~
~
I
~
--
--
~
4
,....,
,..
~35
~ .JI.
-
..-=- ...- _-..
-
.....
111._
1 4
G~
I
;,.
;.
P
~
I~ .....
2
~
. ... -
.
2
... ....,.....,--
..
!
- ......
_
-
=
-
i
~~
-
Dq
~O ~.J
,~'.-.
2
G
-
1
_.- - ... • .. • .... ,.- -- ......... -- ... -- ... .. - .- - -r
--- == ,
9
..L
,
~ it
I
,..
of!
1"1
'oa ..
~
~
+
,.
-
+
,...
,
....
-;11.
'[
/ ' !"'\
J
2 3
••
+
,..
~
-
r:. :"to' #If
.""
~--
,
"'
i'r
~
I-
I
-
.1
~
...
-
...-
-- - ,..-- - - r-"1
...- ..
-
...
.J""""
-•
~
2
,...-
-
......
II,!.
.~
--
~
!
..
If
--
...
./
~
~
If
--
. --
~
IP
Ial
If
/_
_
-
,.~
eft
If
00III!:
iii'"
- .- .
"'"
.. -""" . " "'-f.,.,_
If.
~
I
r-.,"
,
I,..
.
-
l"'""
~
~
'-I
.II
+
I
.J""""
,...
+
r-
! .. - .,t..j .;).:~~
I ..
III
3.
1\
l"'"
-
+
.
.
•
-
-........'.
--=
r-
-
..~~ -~
...
I"""
1::=
+
+
~.- ,.. ~,
--I
r--
_
'Do"_
...
,..
l"'"
'f'. ....I
L
+
(l1li'
~
1\
...
r-
===
- - -
;
•
"A,
I..,
~
, C'
4
I""" _
1Ir-
...
.
.
--- --- b:==---===-- -- ---'d-
-
loI
1\
l"'""
"[
~
r-
&
I~
;.
+
•
L
,.. ,..-~
~
...
L
+
/L
... .JI.J,f
I", r ......
•,...
~
L~
W
r.:-3
~
,..
... •
•
•
....
t:.
-
,---"'\
~~~~~------~~~~~.--~------~~-=~~~~~+=~~~~~~~~
1""_.
r:.
~'i'r
I
'l:I"
I,...
If::t"'l
\000'
-I
1
\\/
.,::(1n
2,
n
.-..
... . •_ .. ...
.- - - "
-• ?n/r I I if 2- G_ I t
2
41
~ oW
~'I
"
r,
....
""
~
r:.:--"'M'
~'W)
,
+
••
A.
I
~
",w,.'11.
:oil:
A
"""
2
•,...
,......
La
..I.
.-
r-
..l ... :..l.
~.-.
-.,..
,
-.......
-
3
2
--,...
1
2
-
,....
•
I
I
~
••
-
"'2'
'11.
1 2 1
'-..-3.
2
1 ~q
2
~
4
2
2
3
4
4
--
....oIIl
2
.....
--
G,
2 (¥1
.
Cj2
4
rfll
"""- """
- --...
--I I
-
I""
3
4
•
-
-'
--
~
"
•
.=
21
~
2
..
~ I~..
-...
I
'11..
"
---
1
L~
.......
1,
L'
r--~
oJ.
2
....
III
Itt.
1~
.u."
........
•
r
3
J
...I
~
--~-
p
2
2
3
10
..
17~
....
\1-.
....... j
}
2 231
1
::13 10
2
~
J
JI!!::l
••
' I +,..-
IJ
.'
t
~
3
4
,
'-"nll
f
--
c.I!f.-
'11
.~
IIIIL
- - ---
.....
4
" 2
~
4
3
2-
...
-=-
.....-
- •
f
+-
I....J
DI (A~)
L
D~
.-
1
_____ -'IlL
---~
3
2
...
~ ~
4
.....
,~-
- .,
2
- LtrJ Jib'
• ..
r,. I -: L
r
__ ...aL
3
II
- ..---- --
;). ~
:
~
~
--~
I
. ..1--
L
~
"
4.-,-,
1
2
Ir.~...,..
1
--
Ia
---
1'":
:-
~
-4~ 1')'
,,~
-a
r-
~
I'
I "!"Ie
I' ~
I
I"I~
....lLIL
....'.:--'1
,..~---~---~
--
~
II'
~
,
,
. --- -I
4
~ ~
_,L
~.-~
'
"1'1
't./
4
,
14
...
~Jl.
'!1
..'t
--- ,.-
1\
1
2
, I
2
...
•
2
.
.3
_1'4(
,
-
4
~.II- ~ ~_....~;.---r-
~
_I
'r.:;;:"It·L
J
--------
r-
~
+
I
;.~.,... __ 4
J..
__ 3_
!. ~.-r..r-:
"
2
,
~~~
x>,
.........
- " '\' .
'
4
2
1
_'1M!.
•
'-
,
'. 4
4
-
'
_--.----1
- - ··
- ---""" ......
--=
..J::
JL
:-
4
+
-"""U..
L
...
., 1
~
~
I,
A~l
J
f'
'-'C'"'- i-'
2
I"":
~
-
3 4,4
+
4
I
.-
~
-- -
4
--
G '- -+-1
' "'-,-
~l
,
1
•
•
11
-4
J.:L
• orr
J
-
.«r-
"l];
.-I
I
~
Dtt
J_
~-~-
o.t
J
Z
~
~
..
~~
/
----.
~.
4
'-"I]
•
.,;i
•
...,j
.....I
-.-
\..'!J~.M
T
'11
~,
-
...
".
---,...
--
j---:-,
, r'-I
_
I
? -3
_
_
.....
r-
3
._T_'...,
'.L~
r-
.......
::<
~
I-
I
I
. -, - rr-.-
L...
I
~
I
2
3
... -
...
..,- !
~
~
.
2
3
•
;1,
.l
L
-
.,
~
---
1
.-I
--
...I
,..
I""""
I
.....
Dq
L;
,...
3
.. """"
-$~
~
4
."'."2 1 2
Cf
- --
_-
.....
..~- :
!
-
T
-I
-=:;l
./\
:'
:.
1
4
r.. ..... ,..»
~-
""" 1
1
2 3
- -. . - .
•
-» .... -
d
f'
'----
'- "~/
~
off'
L.I
•
""I
T
4
1
.
T
.T_
r-"\.OM
1"') 1.......2
1
- ... ,..---,
~-
r- •
~
I
.___<
)
/ (
AI
...
-
-.I - -. . . .
\
r,.L.~. L
/
L,
4
A~
A JI,.
I
'11
~~
\.'
T
.-:I
Ie"'!') 't.
-../
•
-
.
-,
3
,:ft: it..
~
.--
""""
.,~
1
,.,
~
A#
•
-
2
- . ,.- - ••
t
-
~
r-
~",
'!;
+
- --
(1
.............·.... 4
~.
4
1
2
....
--'I
-
,..
1
1 ,
r-
1
I:!!!I-.
.....I _
-
.L
V
I
4
.....- .... T,
r i:=- .P I ·n
I
r
,lt1 ~
I
I
...
..... \11
•
4
••
+
""'"1
•
•
12
Gavotte
-
4
2
2 3
2
3
3
2
,
3
3
4
3(,
'---,
2
2
III
2
t"""-
2 1 2
1 2 11 )
'1-- 2
1
2
~
1
3 0
~2
/,
•
• ••
~
1":\,
2
2
2
"'
3
+
4
+
• •
• •
_ _' __J
2
Gj
-
1
3
2 1
+
+
At
-
+
+
'--'"
4
3
2
1
2
2 3
-f +
+
4G~
,~
2
t A~
------t~
,~
,
3
3
•
0
"~'--'--¥"1 /~ 3 II
,-'~"
•
+
-
I
'--""
1
fJ J6
I
"t;i '"
'II
"Il
"IT
r.~,
,.
0«
•
+,
2
2 3
,
.. •
-.
,
-
•
1
r
r-
1 01
2
-
-,.
3
3'...- •-- '.-
'I
Of'. ~.
-
.-..
- ...-
•
~
T
-
-
h
A, --
-
I
2
2
2
-. - 'if
.'2
I
-',..
'-
I
I
~
I
~,..
':;J5,
~
I
"
• •
r-
2
2
3
'A'
""
2
"
/
I
I"'"
.- rI
+
+
I
•
2
r-'.
~)
I
•
I"'" I
2-
--
1.,
•
•
~
-
l.-
1
4
1
?
•
•
Double
~ II
1
2
2 4
·
,~
rr
··
•
,
1
. .....--- . -_..
,....!,
2
~
,...--..
~
-.r
I
~--
1
I
J
1
1
2
1
3
-.
3"2!.;~
1
2
1
2 34
-:..
.wPr
~
--..
I"
"•
I~
1
3
J':~.-..
l"': l'~
I
1'1
-,...
I"'
•
~
~
2
1
••
2
-
-
,
2
+
3 1
.•
-
/I ~
+
+
3
~ _
+ /'""'\ 2
+
--
,...
~
3
1
1
....
.....
•
~
~
"4
~
.,
-
,.
+~
2
+
2 3
-2-
•
)~ 4 3
~
2 ,
A~
!
,1
...
r_
----.-,
~
,
:
--.
., r-~
- ....- -
»
!
I
-~
i
-,
2
(
\
___
=
-.
...l
)1-I
-
.>
1
I
2
1
2
1
,
--
~
I
--
3
1 2
I
~
...
-'
!>\L
-~
(.
~
,
4
~
I
-I
~~I.L----H
I
1
-...--~
~
-
~: 1
-
--.... -
,;.'-:
-
L,
-.- --
•
~
~
~
... t.:,..
~
~ .~
4
2
3
l
!»
'
I,
.. -
,....
-
··
\' ~ t.
.,
-
1
i
--..--..".-.-
-
.fI-
__ fI- '
-,...
.,--.-
I
3
•
,...
I
.-:,;.'
1.-1-01
•
I
,
/
II'"
;,
+T\
~-
.~
3
...--2
~ ~
~
I
,1
2
I
I~
... :l
,,:1~
1./ _
I""
I... ,..-
I
::
1
+
4
_P'"
.;..
,,----,4
-
1
I
:S_1
1 3 1
I
2
1
2
1
... 3
49
.'JLld':"
IW
2
Il
3
-
4
i
·· ··
+
4
+
.-
+"-""'4
-•-
4 1
-...
23 4 1
-
,
•
-
I
I
V'
· ·•
~
T
+
,
I •
"'"
\
I
JII
1
.-
-
3
3
--
47
3,
2
2
~
,...
I
3 1
4
-
--
I
3
3
~.
-
~
3
2
.-
-I
~
,
(G~)
It
-
1
I
T
4
)
~34
23
II'"
I
..- -
~
:"~4
-...
,
"",I
2
-
2 4
13
313~
··
2
1
2
3
1
2
+
+
4
'1:
1
4
Ottorino Respighi
iI.iI
-
la fotocoplatura
at sensl dilegge
~,'--3~
!
I~
,
-
It!
't
0-
'i_~-:-
.
I
I
;.
?t
'1
'-
:-~
--I
It!
~~
-
I
' J.
2-
----
~~J
:-~
1
mf
(---J
.:'-t-
-~
J-;
-tJ,~J
'1''''--- i
"-ze:
1·.
},~
.3
-
~
~J
I
1
;.
t(i-;---I
•
llJ"',
r
'J:\},J
#
I
-
f\.., ...,.,
b
,~9W<
..
~~
3
O!...
i~
I
1
,-
...-/'
4
;.. ~J
=<~-~J
JT'
J;;
i
\I~
-- --
~
~=
I
~.;
I
dJb
r
i"- -
r
)3
-,
.
IT
J,,~
-~ I
I '
J
:r
J.
}.,.1
/I.'
I".)=!!~·T
~
_-
I(
P dolce
.-.
~
..
; 31,
i
·~-:f-E+= ~.
--
1
----
,
~
b~
Si b--
2
,
~/-
~
)
I
-. I1JJ
\.
I
~
,
~~
I~~
I~
-;~
f-rj
.'-
·
I
~
o.~ ~
l1 J :
·
f-);
+
..
1e1" -----.-~.J--
-
•
2
·
A
J
I
I
-~
I~
*
~
~
III
~.
-:
~~
T
i~J
I
,-
p
~
··
;
~
11~
I
~-1"
,.
~
-
--
~
2
·
~
.
11~
. 1/ ·
..
I
'
j'l@
~~
1~
!
I
,...
1
I
1
~~--r
.
I
--
.J.
·
·
I
·
14 ·
'I'all.
·
r1
..
~.
:.I
2
2
I
\
··
L'll·
'-I
·
·
··
4
.. ~~
l
f ~.
L
2
a
7'~
=
4
"iI
p
:#~
o.
...:::..-
~-
P d 1t
..
a
1::
.
~
a\...~
a
~
..,
8-- ----..
emp,.
pespress.
Rr q
La b
'
-
~4 "
~
J~
pi
2
2
~~-
-
~-J
J
I
I
•
m.g. molto staccato
"-31,
.
~
•
~
,.......,
-
:.w
=al
:"''1---1
I
I
:
r'/
I
g"
-"1""\
/
a
2l
o~"
.
~
I
r
11 .
1-'
,,~e!1J
,.
21-
1'---",
3
I- ·. (a'il
p d 1t
-,
-----
-
)L
l
/.~
Sotq
"
f:.'
S
---r---I
14
:::11
Rd
··
I
21
'1
~J
..-
~
-*
t.
~
3
:;
~ --21
I
Ipp
t'l
'iI
1:;
~
3¢¥
:"'f.'
1
---
\
0-- '-
,J
---
Ct'l'b·C.
1,~c.
·
i=
:3
,....-.,..
~
--~-
#!
/'6
+
~
I.~.
#t.~ vv~
::
#=-
I
V'/5
'iI
d.J--++
~-J:
~~
.-----:V-
-.
I
..
J
~
.
+
II
i1 r-,
~
cf
~
!
!
'l:
3
I
Si1q
I
.-
-
1
sJ~
J ; J J 1
1
J.
J
.
1-,
1
12'1132
\.B
-,
~. \
1ft ~-f+.-
I
'r=t - i l
:/)..J
<
--
0
.-F-~- -~
~ -4 '2.
11 ....
1~'
I
f!)
3 .i ~
~~
"\!
I·
I
\~~
~r
--
<=.;.;
~
r--
K"
·
1'2
G__
I_
-V.;:J~
I'"
$.L~
.
~
r
r
)
••
~
f!)
~
··
I
-.
--
·
I
'k
"
~
2
..
-
D'\
, ..
:
\~tJ- . . . . .
\.
,,~
\
I",,· . . ." " " . . .""...,.'-1
)i'~
-
---.
8
0
.-
..
p.~ .-.
@..
-
-i--l-J--',
-r • . . .
11~'
e.
,
Ie.
~
··
p~
~
1
·
,-.
oJ
•
.
•
0
..
,
~11-r
~
..
G5:cl,h -;:..:. .....,--
"....
mj::iJ
1/
//
..
:/
#~
:; i u. f",
.
0
~'~
•
"or
~j
"':"
/
~
/
1'\1
u
-
-
-
-
-
I
I'
I
-:;:.: u
_________
:
-
1
I
~
0-;.
j
~
'':.
.-.
-
3
dim.
2
2
,
"
.I
0
-
0
I
- ---
.
~ ~
-~
111_::= ...-'"
Sol #
_~_u -!- - - - ~u
1#
3
•
~"'~~
!
~
'\
-
-
-
-
...
4
f
:H_ JJ.
,
;.-, ~~
i ~l
(1t
w.~ ~~
-» -
--I
~
-
~. ~.JI
1
- l) .
~ ----------
,
iii I
-
l r j.
'1
I
-
-.
.
~.-:.~'
"! • j
:f
- --
d-~_~I
.
1
>:~l.
-~
~
?;Il
-
-
f-
~
1
-,
"'
.
.~
•
2.
I
II!'
--t- ... ~
I __
ri:-
'!" 11!
111 #~
I
-
WJ
0
"ill
•
WJ
--
.
----
~'-~
•
------------------7-------------!~
. ..:
..
If
1
"'0---
-.
/
-
o
0
..-1
.
~1
_
0
---
"
.
.~
0
. J!
~. .:.
r)...:.
0
-~
0
I'
\ I
~
Ct'esc.
1
._ _ _ _ _ _ _
----------------Att=A ~-
·
,--,
~
'
-
-
"iII~
J, ...... """",,...,.,.
1
. __ ... -_ ..-
.-
.
-.f--
~JJ~_IA
•
F- ". • •
/
.-
~ ~ ~
@..
,,-1;;"
jI. ;. ...:.
- --I~-
-~
0
....
~
0
0
""r 7
..
:
.L
"
')
=-----
•
tJ . . .
LH
-
--
•
r/~
.2:,
-
:<...
----
0
---)
~
-'I
3
I
,
~
"!'
1~""
I
,
~
,
pel It
.:.
/,) .
o~~---::J
·pd It
,/:
2
111 4
C1"(:SC.
,,~
2
,
;
3'-----;:-
I
5~~
~-
oJ
J
0
~
0
I(
________
---..:.. i
11
..
11
if)
2
- .
!
I
f
#. $#=-
-
-
~
--
.'
~
·1
-
I~
La
#
'-t
1.
J
Gq
\
r-
,,~
;
7
:3 ___r-
~~~j ~
-.'
')
't
1
j
l
fiRe #
,..
I
.-
K .
• ~'
IJ_ .1
~.
I"'~r
:>.
I
u
~
~
..
!
~O /":"I.
1..1.
/
~
t':'.
.
:
:;:
..,
';
IV
-
'1
-'
'-
I I
Iir
,
R
~
!.
<
2
--"
L
.
~---~-------------------------------------------------------------------
-
~
,,~
LI
I
!.
.
~
I
I
I
I
T I
I
·
itilfll
~
r
pP esp"css. -322228
<
.
~
"
~~A • mOlto. staccato
T
I
J;~9 j~
I
.
T J
8
2
0
,
"
0
0
Ii: 8JQ; =J. .
.
.
~~r--------f
~ (eccetto 11 Si grave)
z.
II
.
,
2
0
.
. · .I
L ~
,
"Z_ II
J
~
0
8
.
f
~
~
··
T
I
1
8
-
rl.
\.::::
-1.
1
"
.Doq
I.•
(excepte l" S i lfTYIve)
(except the lower
B'"
---------------------~-~----------------------------------------------------------------~
J.
e
4
~
I
Re#
0
1
··
-
2
.
I
.
})J
S
3
.
ill
.La~ 2
pdl~'1 •
"
.
I
.h,
11.
.I
0,
I
:::::::--,
-.
1-
I
I
q 3
II
0,
.
+1, -H
I I I
.
3
II
.r
. o~
j
~ I
it i
II
0,
.,.'- J
0,
1
II cAnto basso nelle corde_
Flgurazlone di
staccato (lasc!ando doro ogn! nota I vicino alia tavolo.-
p
®
Le chant, btu datul lea cot'de.
Dea8in dea ~ lIiaccnto (quiitant e.lt,·(J c/taque 1Iote) pt·ell de In table.
The melody lower on the strings.
Design of V staccato (leave after each soulld ,
clo~e
to the sounding bOard.
1211:{2
. .r
~
8
.
o~
.I I
"'....
,
-
.
-r [
"9
8
-I~
~
i'.
I I 1 J.
"
0,
I
II
-
..
1
.
-
6
-------------------------------------------------II~
--
I
/'-1-
.
<
p d1
·
I
J.-
1
1 1 1 ....J
r
~
~
1.
I
0
9
0
·
~
..
))-
~.
. .
1
-
1
.J: J
-=::::::::'j
0
0
0
- - --
.
1
'i
I
1
--
J
1
··
-
(,9 -----tf
-------------------------------- -------------------------------------------------------j
I
1
hi
I
.I .I .r .i .I
I
~
O~
c:I • '"
/
.
l
1 J
3
2
~
01
1([/ 4j
I
•O~
..
8 4
:-
01
01
I
~I
I
I I .I J.
2
··
j\
) I"~.~.,.,.
-----------------------t-;.-"
,,~
I
---;-
·
J2 r
[3
eJ
j
~
··
_pdltl
'-I
·
rr.
·
L1
...
A;,··
!
]
,..I
~I •
4
-
.
C2
10:=,
\
•
. .
..... , .... "
P'P
'4
~
~~
~
2
':"
~-
~-
~~ .
....., .
..
~
"!'
......... , . ""·""1
~
raIl :..............
f"':\.
n •
··
........
f"':\.
Sol"
~
2
-r
I
-$- -----------------1
4
"!'
_______ _
.
-~-.~/
,
":"
t
-if"
PI
•
- -i - - -t-- -i- - t - - -i --'t -- -----------------------------------. .
Ii,'
·
4
1
.
-
J
-~:
-
t
-----1
··
··
t
,
~.
2
t
1
.
·
+
·
-----A-1j:....;.-~~--ti ·
r
(
-
~ ~
·
·
~
/
2
-
.".
.. "
---~-·~----l
~
••' ,.",4"".,_, ..
dim. sempre
2
·
I.
.
,
rr
pd It I 1___
~/J
!J ·
··
r
',.
··
2~
----,
I ~""
l
'~"'4'4."4
,~
=i
·
·
v~
1.:
·
·
a··.·
HARD NO DMI
( *C')~fi)
,
r~-"J
,,;
L en t 0
~
_
.'
l:('.-J2 ::~"'_'L ; I' ';~~ f ; n
'~ , . '
t.....
"--.
-
J - Co~
-
"!I
if
.4 ~ ')..1
-~
~
c· ('. ' -r
,-",'-
..
"!I.,111-
-
i
/
..
:2.-
.,a.
.111-
~
- }.
-
2-'
.
J
.~
~
~
~
fii
4:3:(1
~
- --r-
.
.......---...
=
.
rlHtJ
Josef Molnar
••
~~
~
"
J)
"
acw"
J~ J.--=======
~
11
\0
.~.
..
.
tJ
,
=
~
.--
-
.
. J
{m: .--
~
---'"
p
~..,
f
~
~
Il
----
-
.,.
.
)'2-
.,
•
~ .,~ ""~""ll
r'j
LB.
rnp
F;
&<
Fi
&<
f-.L-. '
~
~
V
Fi
•
15
~.
15
8 va ----------:
'Y'~
~
:~
~
F-' 4
'-<.
~.
rit.
1':'\
\
j; ~"'_r. __.J
' _. . .
I
....
poco pitt mosso
J- ()
3
mf
POCO
-
pitt mosso
~ ..
----~
3
16
-
-
9-.
--
'-
..-!"!'!!!!
f\
r
I
t.
Allegro
.:::--/
dim.
f\
~
,
,.
t.
e:=:::==
====-~-~
.' Ttt.
====
o!
··
- -
~~
~'I,~ --L..
w...-.. _
-'
r
a.3...l
..
~
/
...
"!f
R
nt.
~1~
m
•
1~3~
\..
/.,
,:,~./
.-",
1
•
-
~
I'}
~~~ ~~ . . . ~30
.
. .
...
..
r-;-;:-J;.;;;....;
-2
r-----____
'
~~,
1'\
I
-
~
t.i
3
4
..,
"...-.,.-=
"'
.,
I
I
.~
4
..;
-.~-
-
I
1'\
.,
."
@)
~·
I·
/
3 1
;p
-:9-
;-
-
~"
~
2 1
...
-
'~2
1~/
-
~
~
.
.,
l~/./
•
I ··
~
-
I
-------
ioooo""'./
\..
<
1~
":"
.
~~:~
r- !:
rr-r-",\
~
~
2 1
3 1
(ll ~
r-tJ
.~F
•
17
-
Fr-i'-
d
LiD
~i1
~~f-- I-~
_.
~
~
~
fl
:~'
,-:'.)1
~
.
'C
I
~~~
. I 2.
loI::::--
...
-Il
f'-'
~
-
"b
··
..
'
.. ~~--
fL'
---':..
---- -
"«,~-~I
..
-,
"---e
~
f
-..2.~
.".0 i'-
1J '---W
~~ ....
-
f)
l:I1
./J:A'~~'
.,..
I
mp
~ r-"1,
~
~
-
r
•
-
-•
----~
.'_.
,
I
-
.,
i
j
I
I
I
F9
I
~ ~fi..
I
&1
j
j
I
'---../
Il
.:..
-
~'': 2..
---
~
T T
-'~
..,
~~ .
j. ,...
:z-,.-l---
1 /-
f)
.
,
LH\ f
,~
--~
"
.~
~
7~(V
~
~
.
-"--~-
~
I
~
fl
l!'
~
~
loI.~
~
-=----
.,,-.
fl
I
I~e
-
--
~F-
·
~
,
f)
-
3 2 1
•
"
fl
I
1
~
'- J
I£" ~
3 2
~
~
---t3.
.'J~ ~,-_y
mpV
-
P
~
I
\
~:tjj; ~.,
i.-1
18
-
'r
r-
3 2 1
.. .
3432
p~------
19
-
,.,
.
.
"
~
-.
I
-----
,.,
.
.".---.
l
'"
.!
..
-
.
t
-
....
-
~
~
~I
V
~.
r.....,. . . .
f
F-
+-
1\
.
~1
.x / '
~
.
I
t.
I
mp
V
:::::
.
,....., ,......,
~
2-7
~~ ~ ~
-
.-
• .-
~
U :::---
~,..-."I
pC·
lL
~
~
1'1
~
-n!l -
-~
~
7
..
~
,--.
,....
-
"!I
mp
~
.
-
I
,.......,
,.....,
mp
r"""""l
,.......,
•
-
.
P'"'""'1.
•
.
-,;
~
•
.
#~
L(
./-
~
mp
..at 2.-1
,......,
•
;;V I
~
:;;. -,.0'
"!I
F1f-
~
20
-
I'l--
C~~·
~
mp
---
...
··
~
~~
-
!!!!!-.
~
~I ~ (\
-"' .
,
mp~
I
•
I':)
p
2-
~
I')
~
R~~f~
-<
("
~ --; Jj; ~
V--
~
" ,
".
...
,.
~
I'l
..,
tJ
~
!!!!!o!
.
,
~
123.,.32'!'
~
1
·
~
~
-
~
...... . /
~
.
.A!!!f
1
-
~~~.~
.
I
~
........
.-..!
0-'
~
I
~FIt ~~ . . .
u
9._
"":-~
u
__~ 1 . - /
,
I
~-';J
21
poco rit.
/
i
I
',-- ---
~
-{f
"'.
/
'-'
=
,.,
Tempo
r
...
~
=====-pp
~
..
11
U'l"'r
=-IT
,I·'
"
,
li~
~
fI
"I.
<tJ
-
-
..
-- -.
I
..
-
\
~
-L.
L
~
}
.
..
~
~
.
/~
I
-
ll~1
~
.i1I~
)
I
;
.
... i1I.~
-
I
.
"
22
·3
-
•
.
1"\
..
..., ....";
I
,
~
I
.
.
~
~
-
j
!
LI~
~
1'\
.
.....
-
----
P ----
f.
\
.
...~
t
•• ~."I...f
p:;
~
,...
~
.",
~
Fi
,...
.~.
-
\ ID
3
mp
3
3
o,cce \
23
/~
r-f-
Il
, .J
r-
.3~~
oj
r \
~f
<
I
oeo ace .
P
~,
P ~;~
.
..
,.,3
Qf
n/.
1
...,.~ .....~t.
•
3
l~
poco pitt mosso
3
,
tJ
=
dim.
molto rit.
3
====-
LA NURSERY
Transcribed for Two Harps
from Piano Four Hands
by Dewey Owens
·*,1. Petit Papa
1~- 11,
~
,
rJ
Andantino
(
I
"
-
~
Harp I
p
I
( "
------':i,.
Little Papa
'
1880 - 1965
,l
~,emOiSdleOdetteGlADEIGXl
......,
~
',..,-n I
I
---.
-~
./'l/',d:hi: ~
,
,
I
,2
L-_---:=---:1.J
~
7
2-
3'
,
I
c.t...2
l,..-'
~
...
OJ
3.
C.
2
Desire Emile Inghelbrech
,~~J
OJ
...
,
3
' ......
=
er~c..
,
(
@
I
II
~
:2.,
-GP
poco rail.'
I
II
2 34
~
@ a ~empo
(
~
f
.
.9·'
.71 _---I
wl~~,""L
====-=•
;
-,
'-
-',..,..,...,
,
71 I
.,.
:.
I
.....
Y'r)f
'.-"'Jr·
2 ,
\,.4 3
""'"
.....
-......u
-
-
I
c~
2~~
"J ~-
~
<
(
~'---;;l3
I "
~ 4
2 ,
I
p
I
..
-'~
=
•
.
,
......,
I
i."
P
,1
I
OJ
,
t)
I
I
Sq
© 1995. Lyon & Healy Harps. Inc.
:!
-
II
71··
••
LA NURSERY
Transcribed for Two Harps
from Piano Four Hands
by Dewey Owens
,,*1. Petit Papa
Harp II
= 80
··
\
p
I ·
~
(l-
--
-
,
I
tJ
3
3
•
-
-
"" -
-
,
~
~"P.
tJ
f
( ··
7*
-.
c~
®
··
-_ ..
,-aTempo,
~
(fL.,'
.-
~.
·
,.
-
tJ
..,
-J
.2.. • ..,
+- ... &G
J
~~
,.
~
_ --
,.
ill
-1oo...J
-6
© 1995, Lyon & Healy Harps, Inc.
Ill.
-.....J
I
•
.. - •
4
poco rail
...
\ I Ii II tl-
I
~17-
--,
~
....
.
•
t!
p
-
-
=
~
-9-
~.
-6
-,
a-, .--"'1
~
i
( ··
fI-
......
-6
- -.
I
ill
9-
J
==
/1
=
~
I
ill
-;2 J
~~) .f'- •
- ----
~r
-
(. .. -
•
I
I
r"""r"""!""""I
-61
f ~ Jh
,
.g
ICI
$ ~
).J-
4
--
.
~
• .. · · 3
-
• 3
~
2 1
~
4 I
2 3 1 2
&-
,
-
~
-6
131
4
I
1\
.-
,
....
~.
P
========I
:
,
4
_1*"
-
-6
4
ill
-
I
~
Ill.
=
3
-9"
•
(fL.
--
......
~
··
1\
""'-
-
<
(
~
f*-
-
-
a Mademoiselle Odette CHADEIG:-JE
Ill.
ill
f*-
~
1\
1880 - 1965
Little Papa
j
Andantino
Desire Emile Inghelbrechl
morendo e rall.
. ,.L.b"l...··~·
I
'p.
9-
.r~.
.
:
= ====-=-,-I
,
-
-
I
I
•
.---
4
Eglogue 0
-*,3.
Pastorale Poem
,
Andantino
I
II
j. = 44 - 46i·
I;;
G;----i--
II
I
If)
((,l,nO(
-'.
(
~
~
I
e
~
+-
If)
P
~
~
~
I
~
~
~
~
i\
I
~"
,.
•
7
-'
-4"
4"
I
•
1
• •
• •
. I!(sva •
~"
----------------,
<
~
....... -
,.."
U
r-
I
I
,
"
.g"
4"
I
~
,
4 .3
• •
~
.
(
-4"
4"
.~-
If)
,
:
I
I-~
1\
--=-
."
-P1.!"
• •
•
~
P
--
I
b~"
t
• ...
If)
.
( .
I
I
=
..
.'
If)
2...
~ ~
~
t
."
•
1
~ .Q
f
I
(
\
• .. q.....
'
-
1\
(
I
P poco tristamente
Harp I
II
a Edouard MATHE
1. ---7
--
If)
(
~
• • •
)
~ 'i ~ br: ~
mf
D?
I
~~~
f'-
.
~
.
'"
~.
I
-
Db
© 1995, Lyon & Healy Harps, Inc.
F
#
i
\
0
•
-
-0
,~,~
1-
I
T1
;;..
~
=- • --
P
Ll
1:"
• •
5
,
l+
~
•
(
-
tJ
•
•
I
<
( ··
II
?;.
?;
; -,;;--:
,
,
I
.
'
:~'~'I{'
• •
~va _
~.
tJ
~
<
I
:
(
_;
--:go
?;.
_~
_______ - .__ ~ _
---
-
~
-==--====
I
.
(
-
n·
b
I.
~.'
-
n·
..
0
0
:
....
#
A
l+
I
;(
A
~.
. 1'1 jf
r;;
•
r.
~ ~
~ ~
~ ~ ~ ~.~
Aq
1= •.
t
~ ~ t
~
I
tJ
<
( ·
o
0
,I
·,
__
mp
·L ~
rb) •.
~
.
L
,
......
,
Fq
I
,.
r
D~-----Dq
f!I-~
1\
~,..
~
p.,..
D
~
...
-
'TI!'[
tJ
~
t
\~
:3
~
~ ~ t
P
fI
(
- -8""- - - - - - - I
1\
(
.!.J..
...
•
•
I
..
.-:-
t.l
I
(~
~lZ
t.l
n·
'-1.5 fa
<
I
-no
•
..
•
•
.
0
-.
pp
0
I
~3. Eglogue
4
Pastorale Poem
-
Andantino
\ :I"d
I I
j
1\
)
_
I
1\
n
.J. = 44 - 46
--.:;:
~
7
..
\}
-.
--,
-
I
. ..
·
I
--,.
-
-
..
-
r
1
1
~
tJ
I
..
l' ~ ~ *I ~rr *1
··
lI~'- lI~r
-
-I
2
3
4
1#
"
~
l' ~11 ~~ ~~ ~~ ~
~
fllfllfll fll f-r
~
1# 1# 1#
I
1\
~
~
t)
I
}
lIf1
lI~1
I
1\
)
..~ -j .. ,.
I
4
t
-
I
I
1 I I
I
I
,.
I
I
-.-
c;. -
~
rr-
-
.
--.:;:
I
,)
~
----,-I
1\
,......,
~
~
Harp II )
a Edouard MATHE
r--.
f" f~ill i" iT!
~
I
1' .. ,. .." .." 11"1"
··
. _.
~
j
2
I
1\
3
14
1
3
-
I
~
~
-~
~~ lIrr ~
t.J
·
r. h..
L
.
~.
~,
b12-
I
".-
~.-
~.-
0
0
0
loA
2
I
-1
Aq--------A~
D~ -------D~
© 1995, Lyon & Healy Harps, Inc.
I
Eq
-Dt
J.I.
-,
® .'-'
i:t
'
1
~
#
©
. 2
-
3
\',
2
a--
L
11. ~ ~
6
dI
I, II
.
~
~
~
1
I
~
<
~.
..
11
@
0
2
~~
r
~
iT
I
12
~
-~
~.
LJ·
Aq
GR
,
- ...
,,-:-
.
-
,
111
.
l
i1
H
.
I
=====-= =--
).
~
2
I
-
.
..... ..........
I
~.
B~----­ Bq
pp
..
--
=1
L.o..
25
-'1:12. Ballade du Petit Jesus
j = ~ 76
Moderato
{
2
22
-~
~
2
Ballad of the Little Jesus
il Madame Marguerite REH,\~
......
3
_---
~
P
Harp I
mf
1
f
.
2 .. ...
1
~
3
4
L.._
~
1\
2
•
\
~
f*-~f*-
~
4
"7...//
,
' __ J
..
-~.
-----~~
I
P
p
=mJ
II
(
#,
-
<...
-,-J
II
I.."
I
-
.......
1,...0'
\
I
~
.
~
.
~
•
-"j
_4
II
\
B
®
®~
~
···:!-t ),
II
~
'
-
~
~
~
(
(
li
...
v'
~
~
,.f':~ ~
•
~
/t4
.,v-...'.Io#:""I
'. C'
I
......
t
1....1
I
molto dolce
"'- 4_~
© 1995, Lyon & Healy Harps, Inc.
L..-I
I
.,
1 2
3
./GCr
4
111-.
' 3
-
'
~
"-"
1 2
3
4
e-
....:r:£
~ ~1J1
I
-
J
t
p
II
I
J.
",'
.J.
J.
,~.
3
:\/ 12.
25
Ballade du Petit Jesus
Ballad of the Little Jesus
j
Moderato
,.
= 72 -76
·
~
}
)
~
Harp II
·
.
,.
•
• •
-...... ........
--
it
•
Madame Margu.erite REH!\l
•
,
ml
tJ
'--"""-
"'i
•
•
,r . .
I
I
•
•
it!
J
4
1'1
I
.
;
,
~
p
( ·
-
,
r--'I
TT~
~
,
1\
r--'I
(
~
( ··
I
~
11
~
mf-~
~
,
I
/
•
I..
•
I
I..
u.::::..j • -
'5
,
•
.
.......
. ......
,
.~:
-J -J -J ;t
"
··
~
.
"~ .
............ .
~
.,...,
TT~
Lt- ~
,
-;'
.
,I..
.J •
I
c.. •
•
t
~r p~,- f..---a
TT~
-
~.
..............
II . . . . •
I
I
I
I
""
I
.............
.............
;t
p
"" 71 • 71 .. 7J • -,;
molto dolce
--I
I
p-e-
'U'
1
~
,
•
I
I
~-J-J
.
-6
-'
--
1\
~
!
... J.
'J
Col·
,
I
-J
ii
I
,
.
,
11
2
..
®
t.J
-,
P
•
--'1,
,
I
-r::;
f,"i__ ["iJ
I
1'1
-~
Lqr
-!.
,
71 • 7J •
-,J
~
.. -#-P.
<
2
3
~
)
4
1"":",
~
• ... -J _. , 'r--
-e-
~
( ·
'U'
p-e-
'U'
L...l I I
1
© 1995, Lyon & Healy Harps, Inc.
~
2
3
0
v'
~6.
-
,---.
10
I
Am-Stram-Gram
Am-Stram-Gram
\Co_' ~ = 132 r--__
I ~
-;
Allegro
1
~
"
~
•
~
ff
Harp I
"
(~
,"
~.
~
•
=
--
,:,
LJ
.
:)
ff
ff
I-
I
--
p dolce
b.-
1'1
I
~
~
..
I
.at
"-
.at
I
.-
-
••
-! ~..
\
:2-
.3.~
4
f'- ~.. ~ ~ -~
~ ~ ~
~
iJ!J!
fI
- - - ,- ,.-; I
-
,.
, ,
.. .
".'
- ,
-.
0#
8va ,
I
~
loco
'~
.-=-_
f*-~. j
~.
c#
~
. .~
;,....
I
-
(~)f'- f!:.
~ f!:. ~ _~F.
.>
=
fI.
I
\
I
f
--
®
~!..
~i
~LJ
p~
••
--
.., -
:
-,
I
(
rnf
,
I
~
I
© 1995, Lyon & Healy Harps, Inc.
'fI
1"..0.0'
'
Tl
I--
.ff
.3
~
fI.
"2
-
I....-"
,"
~
l-
I
11
I
~
~ -~ ~.~
I
.-- r
(b)~ f-
f*-
( "
(
-=::::::::
-,
-;.
?- )..
~ r:~ ~ r: r: r:
~
<
2-
•
\,
--
-
:':>-
W-
mf
a Mademoiselle Suzanne MATHE
-
~
t=
fIL
~
~
b
11
~.
I
II
I
II
,
B~
:3
~~~~~
~
o
• •
I
tJ
pp
~
~
..
morendo
'l'
0
-,.
P
1\
(
U-
-==::::::=
~.
.II
(
•
1*-
(
~-.--
II
I
I
~
~
-
~
i=-
-.....
pp
,ff.
,J
subito
~
V
,
8
1\
~
t)
"
ff
~
-
~
w _____________________
II
I
mf
l'
®~
-=
Tl
I
ff
I
t)
<
...
,
~~~,.~
Cb),. ~
ff
2
--''"''
I
.
~
=d.
o
- -
.:.Jo
1\
1\
~,'--'~~-92
-6-
Bb
tJ
-
--...
31-
3~~A!
II
(
,
menD p
~
2-- I
I
~
F-F'
-
.
.,..
1\
t
~ f-q; Tqfl ~ ~
~
p~\
tJ
I
j::
'-I
I
tJ
(
). 3-
----F#
~Ir
~
~
_pp -_subit°
------
Fq------~\----------
~~
.tJ' (f)ubilO
_/
.
@)
P
* @
A
>-
:
.,
* Plectric Sounds; executed at th,
sounding board by the fingernail
;·,6. Am-Stram-Gram
10
)\nn-Strann-~rann
,
)\lIegro
,\ )1:. \,\1 l/
I
I
1\
~tr
= 132
~
• •
-$-
1\
j
j
~
.If
I
I
mf
~
I
I
\)
P
I ··
\
dolce
\)
··
-
:;
~
L,
\
"2-
(
~
•
it-
•
•
t
II-
t
•
Ab ~ It-
'"
:I
.If
I
~
j
:I
~
I
I
!
~7-
© 1995, Lyon & Healy Harps, Inc.
,
P
I
~Ir
~
~
f
~tr
~
~
)
•
I
I
,. ,.
f
::>
,:
-i-.
-i-.
41
r::::r::1
•
•
1'.
•
It-
•
1
t
..
•
til
f
'.
Aq
~It1
I
~ ~
sq - - - - - - - sb
I
I
•
~
~
I
-:2.
11
11
111
(;I.
-..:.
-$-
I
~
~
.
.If
f*-
~
~
f
o·
-$-
-
-n
--.:
~17
~!r
-
~
"T"
.ff
,.
.If
•
•
7'
,
A
41
r-r1
--
III.
I
I
,:
PP
~
~
~tr
; ..
~
~
./
-=
~It-
~
a Mademoise11e SuZal1l1e MATH
I
~
~
)
~
)
I
-
I
~""
'3
~
ill
•
•
•
-$-
·
•
t
II
~
!
•
PP
f
~It-
-i-.
•
Cl--
~
~
'3.
~17
r-r1
®
I '"
~7-
-,:
-i-.
tJ
It-
~
.
I
.. sq - - - - -tt-- - s b
~7-
'"
(
5
~~
,
:
~
~
I
I
y'
I
:I
r
-'
...,
{ ·
•
T
I'·
,.,
...
-,
:
..
f
)
-
3.
I
I
~7-
J
.ff
<
~
~tr
I
~
~
!
Harp II
j
::>
-
-~
\)
©
.. "
~
P
~
,
~
~
",,'/~
I
j
•
.~ (
1*
1
I
..
~·1'J"<r·:!
I,"
7.
_.
l
.. t Lt
·G.
I
~
)
I ·
I
I
I
!
mf
I
!
~
~~
.!:
:;
~
!
~
":>
.
17 )
!
~
!
~
I
~!r
~
-..,
17
ff
I
-:2
"11
"11
"11
I
~
~J
1*
,..
I
I
~
~
B
~11-
~
:L
"
I
.•
ff
I I
G~
..
f
t1-
=
..
.ff
..
"
- - -
ppsubito
6.
• • •
B~ 111-
•
b
Db
E
~~
1
9'" .....
pp subito
•
. ..
..
~
•
E
:
...
...
ff~
'!
-$-
~
,
,
tJ
,
--
\
-,
..
-$-
I
"1-
!
I
I
1\
·
-
.2.
I
~~
~
,
,
17
~
,
I
-0--,.~
~
I
• • •
~
I
.:,
f*-
-c:::::::::::
~
J.rj
~~~~~
<-
-$-
~
~-....::
I
.- 1...,
-$-
~
I
I
~
-
~
P
·
u
:
,
"
1\
-
1
I
®-----
~
}
I
..
-
.
I
(
)
,
t.,
morendo
<
,
""..
I
.-
··
?
I
2
1\
~
4
~
LJ-
~
~
f*-
-
)
"""..l......~
_ f*-
~
1\
~
T
"
f*-
·
~
"
dolce
W~
..
11--
~
.
~
p
pp
~
~
~
@)
..
EDE 'AlliS
C£LM#:n
>-
CAPRICE
j
j
rvCf.'RT
I
Nothing fatigues me but doing what I do not like.
Op.9'"
Jane Austen, Mansfield Park
..Itt I itl/illin.
"
---"
4'" :tL:: _
\
~'2.
I
u
~
J
...
'-~-WG
~>~
\
Tl
d
.-
-
..
..~~ JTj~ ~,#,.~.~
-JI
:
\
-.
~'
')---
" j
-'
I ~ \
L ••
i1
~ci i J:'l~'';''''
.-
Rilell .
.
r
",
....
. . . . ·_
_____
'C~ "e.
rY, .l
I 'C.
'0,-"
-~._:_~..
LI.,
C'''\4I
? \"-..:"'1
...
~
C Copyrighl1994 by LYRA MUSIC COMPANY, .New York, N.Y. 11
. . .
Inlernational Copyright Secured Made In U.S.A..
fTc..\' n1 c r, ''-. .
ti perf
I rprolll
_1\
All rights reserved including pub c
0fI1I8IlCe 0
.
whe \> ~.,.
'>.
'--?p'"
'.._._ \' .:
~.
, •
>
. .~. \
\.
'.... ..t .: C",;
- .-- .. -- ~
_. ....-..
-"
"
. .
-~----.-
,
. --- -
_~
/1 ~
'
~
f
.-,-
'1."-·,
',"""--#-,--=
I
'
..
~
t~L..l
~ ~~:,
-
~~t.
-
., ,.
.1
t
t"
~ ~.1~
-
\~.
-
"'-
~~
:.::.
.)
p
.,,!O~,
i...-'.
~~
-
,.
C~
~J:
-
~
, liII.....
-
"
..
--
.... -.~
~~
~t
-
lllL
Hit.
(l
~
j
.: ,.-;
-Z-
~--:-
I~--
.::.
~
.
~
~--
...;,.--
-.=."
~
•.• .
:
~
,~\I
"
r~
-
,
\
".'
:
.-.
'~
...
"
{"
f
~--..~
.J.
.. ~f-
.
..it
~~
tr~ ~I'
fIT
~
..
tt\ -;f.
",
."
)
-'
',-
I'
c:P
C!.D
.) ,
~,
.t-
.
.'.
",:';'
-
.~
",
.)
.
P
5ii"'"
\-
••
•
j~ t--t...
I--~
L
L!t!;
J.
.i
.J.- ........ ~
~~9~
--,'
..
'---
-.
,....").
1"1:'~~r'
, ~'
1..,'"
t:-
. _
PL~~
\
,
,
-
-~,,-
'.
!
V
.0\7
\
-+
,...
::.~~~
--
.~~Ut)
~
\ ?; '.t=
'
..r:i-- .
~-
II ~Lt-~I
:
-
,
~
,
\ ~fe/l
1
J,/
,.t~
~
~
-:;..--
')7
J..
~.~.
iII-
--+--J--
~T.
4
tz~ ~~G~ ~~ h~
'- , 4~['
J-. J. X
I
1
J.
FO~--=
-
~
t-
/ .~~
~t-::'
ll~
J.
--
,~
,,~
su/llffJ.
.·fL~f:.
:
1f
.f..
:
I
f
0
~
.....~ __
_~ ~,-~,
1&Jf."
I
1
I . .,
.~'h r-9~~'" ~
'~V
~,
pi,.
,
l
". J,
~ ~'-t.
L~~~~:
J.
\
~
•
~.
rj
~
~ ... A:~::;;;-
,~
rr--. -
I
l
1
'"'"
:
x ..
I
IJ
{
-
I
:
..
tJ
\
-
;'
-
~ ..
l
-
, ,
~~~~,~~=========
'
\'
~
··
-
'
~' .
-
..
. t· _...
~,-----.--.-
,
{
..
..
/.
5~ ,
.,
~:::
-..
,.
,,~
,.
\
1>-:\
.)
I
/'J..
;:,
,
r-.. .. ~LL
A
S-I
.)
··
"J r-.. P
i~
-
.. .
,
•
.f'-1
I:::;:::;:j
'--I
,,~ ~ ··;->'S~---'
.
'
~
-
p,
p
-".
•
~
r--~'-',,-
I
1.
'-
'-..J
;
~
-.--~
.1
'-~.~.,
l+
r;h.
-k
L
r~
~
..
-
~-
i
=~=~~-----
.
'1-3
J'L
."
{ ..
...
JI
b~~~
-
"2-
i
:3
~
L
JJ;'--~
.!
....
'2..
~
2~
3
-
~I
",
: .. ~~f '",
(,~
~
..~
D.
-
I
- "j"-,J
.~
~
tJ
;
=
11
-
"
i
~~~
-===-=
'
..,
1"1
~
-
II Co
A-)-IHt>mpu.
/I
t>oco rit.
L •V•
I.j ,-
It
-
. .;...;...---:-L.V.
C
..-'. . A.Vl?'
=4/
"
.
•
..L"'"
~.
:-."
~
I '
.'-
.
'-
:r--'-" 1.. - : . .
(.1" .)
, I
\)
, \ ~ __
.L
I!
-'"1:.D
l!oooO..
T-
iJ
, f-L-'
-
.t:'r~c
.-
,.»~
~
1'1
.
l.
;,
.ft.
.,~ -
:;::..
=
~
.--'
-
.1;
-
~
~~
"I
I
>-
-
..
I
1""
I.·L"
...
-.
-
"....~ -
b. ~,~
I
~
:;>
7j
,
"-
•
,
•
li
"
...
~b4..L.
'\...!..l
~
£ .'---"
...
"f.Lf-Jn'f\"[rpAt- i
J•
1-'FiII'I
I <I ~ ~
"
=<-i.;
I
I I~
~
I I I
II il
(1
..,9
,-,
-
I I r I
___
I,
"-,,,-''''
~~.
''"J •
~.
f
~
/
.\
p
It
...
"
I
.'
I ",tillllllllfU '"I
..,. ~L 1 ' 1~
tll'41 rl •
.
I
~~
-L40, I
.'
.
~
... ,
!
-
......
It
~.
1=..
~
'\
~.
~
;
"J.
~~
~,.
;
pOl~1J
.3'1
f 3.~~!
rft\!
...
~
f.)~
J,
~l1.
I::' i
C"~"t·.
J.
J.
I
~.
f.
!.\~
:1'
,.
..,
I
11I14~
ir' .~
I!-~·.
r./2..
It
-
"
~~
...
\:~
"',---,"'I"U·O.
~3_'
Ib~I-
,-
I
I
If.
=...
~-~
r' ,
J.
)
-' "1
;.
t
e
\
I
~
,
~,~
, '-,
.
t.J
~
L
, r'
----
Anc an
\
.J
-
JLl
pp ,
0
··
P
0
... !il1I
""-
...
-
- 1i
-
0.---.,.0
.
.'\
-=
:-
~Ct'll
'.
-.
,..
IL
I
-
_ . '-.
>;
;J.I
1
j.
j .",
1\~
pill'
A tempo.
,jyement)
l ,nJ(assez~
~
~
~
.
«l
Cf?,~
.;,,;.'~
-.
,-
~~r:::
.
3
I=:======~
~r==='~
~
,
\.l!. C.
Uun
..
~
~.
sJ'
,
Ji
··
\ "/"
,or"
,
"J
.1Y. ~.
~
..
}j
H
~j)
v
)
.
~
,
;! .
6=IF:
[
~..J.
..
~
..L
~~
..
II'!.............
f:.' .JJJl~1.1.1 U
.....
." ..1t.,
. :~3
....Io!:Z
.,
..,.
' . .L~j
Ir.'.. , .. '.
,."~
..
....
I
1l'!. .I..
-
- ,-
.crl'
~I!: ~ ..;~' ~t
~,.
!::='
""
~
~, '-J
~
,
-
I!!!!! !:::I
~'"
.
1)+"'
'I
.'
~;:::::
,
I
3 It.
i!!!!!10
-
iF
,
~.
~
eJ
Ril'
-
-
I
.r
··
··
.1=1=1
"
s re.u
~
J
0
.
I
~
"""
L
.
--- -
~J
\
tLl
100.
i
.Ill
i~