CHERYL FRANCES-HOAD
A Young Persons Guide to Composition Variations on a Theme of Benjamin Britten
for Orchestra
A Young Person’s Guide to Composition This piece was commissioned by the London Chamber Orchestra as part of its Music Junction project in 2014. Music Junction is a creative music-making project that aims to engender a lasting love of music and to increase empathy between young people from different backgrounds. (More information about the project can be found at www.lco.co.uk) The first performance was given on 22 May 2014 at Cadogan Hall, London by the London Chamber Orchestra alongside young people from Kent, Berkshire, Waltham Forest and Havering, conducted by Christopher Warren-Green. The work was composed using motives, melodies and rhythmic ideas created by the young people involved in response to the four emotions (chosen by the composer) of Hope, Excitement, Courage, and Pride, as well the melody from Benjamin Britten’s Begone, Dull Care! from Friday Afternoons.
Instrumentation Young Musicians (all instruments) Piccolo 2 Flutes 2 Oboes 2 Clarinets 2 Bassoons 4 Horns in F 2 Trumpets in B flat 2 Trombones Bass Trombone Tuba Timpani Percussion (4 players: xylophone, triangle, castanets, tambourine, woodblock, whip, crash cymbals, tam-tam, snare drum, bass drum) Harp Violin I Violin II Viola Violoncello Double Bass N.B. this orchestration is identical to Britten's orchestration for The Young Person's Guide to the Orchestra. Percussionists should use same size of cymbals, tam-tam, woodblock, etc. as they would in the Britten.
PERFORMANCE NOTES A Young Person’s Guide to Composition is designed to be played by (any number) of young musicians (on any instrument, from beginner to the more advanced player) and orchestra. It is in part a homage to Benjamin Britten’s The Young Person’s Guide to the Orchestra, and, as Britten’s work comprises variations on a theme from Purcell, this work takes Britten’s Begone, Dull Care! from Friday Afternoons as its inspiration. Each of the four movements (Hopeful Harmonies, Exciting Ostinati, Courageous Rondo, and Prideful Passacaglia) should ideally be played by a different group of young performers. The finale should be sung by all the groups together, along with the audience! The work is also performable without any young performers, for orchestra alone. In this case all passages with small note heads (in the orchestral parts) should always be played. When the piece is performed with young players, the default starting point should be for the orchestral musicians to play all the passages with small note heads. If desired,however, some or all of these small note headed passages may be omitted from the orchestral parts (for instance, if the young performers are able and willing to play particular passages without the support of the orchestra. At two points in the score (at the end of Exciting Ostinati and Prideful Passacaglia) there is space for improvisations created by the young performers. These improvisations are optional, and if not created/performed, the orchestra simply plays their last bar as written and proceeds to the next movement attacca. The improvisations, if created, should take inspiration from the motives existing in the preceding movement, as well as from the relevant emotion (Excitement or Pride). The following comments are general and relate to the entire work: The dynamics in the score denote the desired dynamic heard by the conductor/audience (e.g. no compensatory dynamics such as marking the brass at a lower dynamic are used in this score). It it presumed that harp chords (of three notes or more) will be lightly arpeggiated unless otherwise specified (an arpeggiation line denotes a slower spread, and a bracket no arpeggiation at all). In the strings, single lines (sometimes immediately) following divisi lines are always to be played tutti. When chords/dyads in string parts are not divided into upper and lower parts they are to be played non divisi unless specified otherwise (even if this results in a slight arpeggiation of the chord). In the bass part, upper, bracketed notes (when they occur) should only be played by bassists with no low extension. The suggestions for the types of instrument to be played in the in the young performers parts are suggestions only and indicate the desired kind of timbre etc. All of the percussion in the young performers parts is optional, and keeping this to a minimum (so not to obscure the orchestral percussion) is preferable but not essential. If desired the young performers parts can be simplified for some of the players (e.g. playing the first note in each bar) as long as none of the harmonic content is muddied or disrupted. Similarly, parts that are too taxing may be omitted, as long as this part (which may be written in small note heads in the relevant orchestral part) is played. © Cheryl Frances-Hoad 2014
A Young Person's Guide to Composition Variations on a Theme by Benjamin Britten
CHERYL FRANCES-HOAD SCORE IN C
Andante q = 68
Theme: Begone, Dull Care!
Young musicians
Young musicians
Young musicians
Piccolo
Flutes I & II 1. Oboes I & II p 1. Clarinets in Bb I & II p 1. Bassoons I & II p 1. Horn in F I & II
3
p Horn in F III & IV Trumpets in Bb I & II Trombones I & II
Bass Trombone
Tuba
Timpani p Xylophone Triangle Castanets
p
Tambourine Woodblock
p
Whip Cymbals Tam-tam Snare Drum Bass Drum Db C§ Bb / Eb F§ Gb Ab
Harp
p (It it presumed that harp chords (of three notes or more) will be lightly arpeggiated unless otherwise specified (an arpeggiation line denotes a slower spread, and a bracket no arpeggiation at all).
Violin I
Violin II
Viola
Violoncello p Double Bass p (Only play upper bracketed notes if the lower notes are not possible)
© 2018 Cadenza Music Limited
2
Picc.
6
Fl. I & II
mp
mp
Ob. I & II
Hn. I & II
Cl. I & II
Bsn. I & II
3
1.
a2
a2
(p)
a2
mp
p
mp
Trb. I & II
B. Trb.
Trgl.
p
Tamb.
W. Bl.
Vln. I
p
Hp.
F§ - b
Gb - §
Timp.
Vln. II
DB.
(tutti)
mp
Vc.
mp
Vla.
Db - §
mp
Bb - §/ G§ - b
mp
mp
mp
mp
mp
mp
cresc.
(tutti)
mp
cresc.
cresc.
cresc.
cresc.
Tba.
cresc.
Tpt. I & II
mp
mp
Hn. III & IV
mp
mp
cresc.
cresc.
Picc.
12
mf
Cl. I & II
Hn. I & II
Ob. I & II
Bsn. I & II
mf
Fl. I & II
mf
Hn. III & IV
mf
ff
ff
f
B. Trb.
mf
Tba.
Timp.
Xyl.
Cymb.
Hp.
Vln. I
(mf)
Vln. II
Vla.
Vc.
DB.
1.
(ff)
(ff)
f
f
f
p
ff
ff
ff
ff
ff Fb - §
ff
(tutti)
ff
ff
f
Trgl.
T.-t.
mp
ff
ff
ff
f
ff
A
mf
ff
ff
(4th horn only)
Trb. I & II
Tpt. I & II
3
ff
ff
(tutti) pizz.
mf pizz.
ff
mf pizz.
mf pizz.
mf
ff
A
pizz.
mf
4
Picc. 16
Fl. I & II
Ob. I & II
Cl. I & II
Bsn. I & II
1.
mp
(p)
mp
(1.)
(1.)
mp
mp
1.
mp
mp
a tempo
1.
poco rit.
a2
mp
mf
Hn. III & IV
Tpt. I & II
Hn. I & II
1.
Trb. I & II
mp
B. Trb.
Tba.
Timp.
Hp.
Eb - §
Vln. I
Vln. II
arco
solo arco
arco
Vc.
arco
DB.
mp
mp
arco
mp
p
p
poco rit.
a tempo
p
tutti (arco)
mp
mf
mp
mp
mp
mp
mp
F§ - # Gb - # Ab - #
mf
mp Vla.
mf
mf
Xyl.
W. Bl.
pizz.
mf
mf
attacca
5
Variation I
Scherzando q = 112
Picc.
Fl. I & II
Ob. I & II
23
sfz
ff sfz
ff sfz
ff
sfz
Cl. I & II
Bsn. I & II
Hn. I & II
mp
ff
sfz
ff
Hn. III & IV
Tpt. I & II
Trb. I & II
Tba.
Timp.
Xyl.
pizz. Vln. I
mf
Scherzando q = 112
mf pizz.
mf
pizz.
Vla.
mf
(pizz.)
Vc.
mf pizz.
DB.
mf
mp
C§ - #
mp
(D§ C§ B§ / E§ F# G# A#)
Sons étouffés
Vln. II
mp
ff
Tamb.
Hp.
sfz sfz
ff sfz
ff sfz
ff sfz
W. Bl. Whip
Cast.
Trgl.
ff sfz ff
mp
B. Trb.
sfz
ff
(c to be the peak of the gliss., note does not need to be clearly brought out etc.)
mp
gliss.
gliss.
f
mp
(Sons étouffés)
sfz ff
sfz
ff
arco
sfz
sfz
ff
arco
arco
sfz
ff sfz
ff
arco
sfz
ff
arco
sfz
ff
mp
6
28 Picc.
mf
mf
Fl. I & II
mf
Ob. I & II
mf
Cl. I & II
Bsn. I & II
Hn. I & II
mf mf mf mp mp
B
mp (non staccato)
mf
Trb. I & II
gliss. gliss. 1.
mp
B. Trb.
Trgl.
S. D.
mp
gliss.
mf
Hp.
1.
mf (non staccato)
B. D.
mf
1.
Xyl.
Tpt. I & II
Timp.
Hn. III & IV
Tba.
mp
C# - § D§ - # /F# - § A# - §
f
3
f
f
3
mf
(dampen ring)
mf
Vln. I
Vln. II
Vla.
Vc.
DB.
B
35 Picc. (mf) Fl.
I & II
Ob. I & II
Cl. I & II
Bsn. I & II
Hn. I & II
(mf) mp (mf) mp (mf) mp
Tpt. I & II
1. mf
Trb. I & II
mf
mp Hn. III & IV
mf
mf
mp
mp
mp
mp
mf f
Timp.
Xyl.
f
f
mf
mf
mp
mp
mf
mp
mp
f
mp
f
mp
p
Vln. I
pizz.
(Sons étouffés)
pizz.
pizz.
(mf)
mp
(mf) pizz.
mp
(mf)
DB.
mf
mp
mf
mp
f
mf mf mf mf
pizz.
mf
p
f
mf f mf f mf f
mp
D# -§ B§ - b/G# - §
mp
Vc.
Vla.
Tamb. S. D. B. D.
Vln. II
Cast.
Hp.
f
mp
Tba.
f
mp
B. Trb.
f
f f f
mf mf mf mf
7
f
(tutti)
8
C
Y.M. 41
Picc.
mp (non staccato)
Fl. I & II
mp (non staccato)
3
3
3
Cl. I & II
Bsn. I & II
Tamb.
Y.M.
Picc.
45
Fl. I & II
Bsn. I & II
Trgl.
p
Cl. I & II
(flutes* see NB p.1)
mp
p
p
attacca
Variation II Hopeful Harmonies
Moderato
50
q = 100
Y.M
Fl. I & II
Vln. I
Vln. II
Vla.
arco
arco
arco
p
p
arco
DB.
arco
Vc.
p
p
p cantabile
mp
mp
9
Y.M. 58
Fl. I & II
Vln. I
Vln. II
Vc.
Vla.
DB.
mp
mp
mf
mf
mp
mf
mf
mf
66
Y.M.
Y.M.
Picc.
Fl. I & II
D
(add oboes and clarinets)
p (flutes)
(oboes)
1.
p cantabile
Bsn. I & II
Vln. II
Vla.
Vc.
p
p
mp
mp
mp
mp
DB.
Vln. I
p cantabile
(D§ C§ Bb / E§ F§ G§ A§)
1.
Hp.
Cl. I & II
T.-t.
Trgl.
p cantabile
Ob. I & II
(mf)
(mf)
D
p
p
(mf)
(mf)
p
p
(mf)
(p)
p
10
Y.M. 72
Y.M.
Picc.
Fl. I & II
Ob. I & II
Cl. I & II
Bsn. I & II
Trgl.
T.-t.
Vln. I
Vln. II
Vla.
Vc.
DB.
(clarinets)
(flutes)
a2
1.
a2
(oboes)
p cantabile
E§ - b
p
p
p
p
Hp.
(tutti)
11
78
Y.M.
E
(add strings)
mp
(piano/keyboard/xylophone) (clarinets)
Y.M.
Ob. I & II
Cl. I & II
Bsn. I & II
Hn. I & II
Hn. III & IV
Xyl.
Trgl.
Tamb.
a2
DB.
3
3
3
3
3
3
3
3
3
3
3
3
mp
mp
mf
cantabile
mp
3
3
3
mp
E
mp
3
mf
cantabile
3
1.
3
3
3
mp
mp
Vc.
3
mp
Vln. I
Vla.
Vln. II
3
mp
Hp.
mp
Picc.
Fl. I & II
mp
mp
12
Y.M. 84
Y.M.
3
3
3
3
F
mf
3
3
3
più f
mf
mf (tambourine)
Ob. I & II
Cl. I & II
3
3
3
Hn. I & II
Hn. III & IV
Xyl.
Cymb.
mp
3
3
3
3
3
DB.
mf
mf
più f
mp
mf
3
3
mf
mf
mf
3
3
3
3
3
F
mf
più f
più f
mf
mf
più f
mf
più f
mf
più f
mf
mf
più f
3
mf
mf
mf
mf
3
3
mp
più f
3
3
3
mp
Vc.
3
Vln. I
Vla.
Vln. II
a2
più f
mp
Hp.
Tamb.
mf
più f
mf
Trgl.
più f
mf Bsn. I & II
a2
3
mf
3
mf
(medium pitch drum (no snares)
mf
Picc.
Fl. I & II
mf
mf
mf
mf
13
92 Y.M.
Y.M.
Picc.
Fl. I & II
Ob. I & II
Cl. I & II
Bsn. I & II
Hn. I & II
Hn. III & IV
Xyl.
3
3
3
(p)
mp
1.
(p)
(p)
mp
mp
3
3
(mp)
(mp)
Vc.
DB.
mp
3
3
mp
mf
(p)
1.
Vln. I
Vla.
3
mp
Vln. II
Hp.
Trgl.
Cymb.
mp
(mp)
G
14
98
Y.M.
(woodwind and strings)
mf grandioso brass (ideally there will have been no brass until this point)
Y.M.
Y.M.
Fl. I & II
Ob. I & II
mf grandioso
1.
W. Bl. S. D.
3
3
mf
3
Percussion/Rhythm section solo (rhythm printed only a guide, can be improvised) 3
mf grandioso
mf grandioso
Cl. I & II
104
Y.M.
Percussion solo
Y.M.
Fl. I & II
Ob. I & II
Cl. I & II
3 3
W. Bl. S. D.
Percussion solo
3
mf
3
3
3
111
Y.M.
Y.M.
Fl. I & II
Ob. I & II
Cl. I & II
S. D.
3
Percussion solo
3
mp
15
H
118
Y.M.
f
Y.M.
Y.M.
Picc.
(woodwind, strings, keyboard and tuned percussion)
f
f
3
f grandioso 3
3
Fl. I & II
Ob. I & II
Cl. I & II
a2
a2
a2
a2
f grandioso 3
3
f grandioso 3
3
f grandioso 3
3
Bsn. I & II
Hn. I & II
f grandioso
Timp.
f
Xyl.
f grandioso
Cymb.
S. D.
f f
Hp.
H Vln. I Vln. II
Vla.
f grandioso
f grandioso
f grandioso
f grandioso
Vc.
DB.
f grandioso 3
f grandioso
Tba.
f grandioso
B. Trb.
f grandioso
Trb. I & II
f grandioso
Tpt. I & II
f grandioso
Hn. III & IV
Bb - §
B§ - b
f grandioso
16
125
Y.M.
Picc. 3
Fl. I & II
Ob. I & II
3
3
Hn. III & IV
Tpt. I & II
Trb. I & II
B. Trb.
Tba.
Timp.
Xyl.
Vln. II
Vla.
(a 2)
(a 2)
DB.
(divisi.)
(divisi.)
(f)
(divisi.)
I
(f) grandioso
(f)
(f)
(f)
(f) Vc.
I
(a 2)
Vln. I
(a 2)
(f)
(f)
Cymb.
(f)
Hp.
(f)
(f)
Tamb.
B. D.
(f)
3
S. D.
3
3
(a 2)
Hn. I & II
3
3 3 Bsn. I & II 3
Cl. I & II
Y.M.
Y.M.
17
131
Y.M.
Y.M.
Y.M.
(flutes only)
mp
3 Picc.
3
3
3
ff
Fl. I & II
Ob. I & II
Cl. I & II
Bsn. I & II
Hn. I & II
ff
Tpt. I & II
Trb. I & II
B. Trb.
Tba.
T.-t.
Hp.
Vln. II
Vla.
mp
ff
ff
ff
ff
mp
Bb - § / Eb - § F§ - #
3
3
ff
ff
ff DB.
ff
p
ff Vc.
ff
Vln. I
ff
ff
ff
ff
più f
ff
p
Cymb.
ff
Timp. Xyl.
ff
ff Hn. III & IV
ff
attacca
18
Variation III Larghetto teneramente q = 52
1.
Cl. I & II
Tpt. I & II
Vln. I
139
Ob. I & II
p cantabile
con sord. divisi
p
con sord. divisi
Vln. II
p
p cantabile
DB.
p
con sord.
1.
p
Vc.
con sord. divisi
p
Vla.
con sord. divisi
Andante moderato q = 92
J
148
Y.M
Bsn. I & II
Hn. I & II
Trb. I & II
Trgl.
1.
(D§ C§ B§ / E§ F# G§ A§)
J
(divisi.)
(divisi.)
Vln. II
Vla.
(divisi.)
Vc.
mp
mp cantabile
Vln. I
DB.
Hp.
Tpt. I & II
any instruments (although perhaps only half the ensemble at this point)
mp
mp
mp
mp
1.
mp
mp cantabile
p
F# - §
non divisi
A§ - b
mp
mp
non divisi
mp 1.
Andante moderato
q = 92
p
p
non divisi
p
non divisi
p non divisi
p
19
Variation IV Excited Ostinati
Y.M. 158
Fl. I & II
1.
mf
Cl. I & II
Bsn. I & II
2.
Vln. II
Vla.
Vc.
DB.
Vln. I
1.
mp
1.
2.
simile
senza sord.
senza sord.
senza sord.
senza sord.
senza sord.
Y.M. f.t (normale) Fl. I & II 162
f
Cl. I & II
Bsn. I & II
6
(più f)
2.
3
mf
f
simile
mf
mp
f
1.
f
2.
165
Y.M
Fl. I & II
mf
Bsn. I & II
Hn. I & II
Vln. I
(mp)
Cl. I & II
f
7
mf
1.
mp
mf
1.
(violins)
(più f)
(mp)
5
3
7
3
mp
f
2.
3
3
mp
20
168
Y.M.
Y.M.
3
3
3
mp
Bsn. I & II
Hn. I & II
1.
mf
Cl. I & II
mf
mp
Ob. I & II
(violins)
3
Fl. I & II
K (perhpas alternate here with other half of ensemble playing?)
1.
mf
1.
2.
1.
mf
mf
Hn. III & IV
Tpt. I & II
3 3
Trb. I & II
. gglilissss.
mf
3
3
mf
mf
B. Trb.
Tba.
3
mf
Vln. II
3
3
3
mp
Vla.
3
3
mp
Vc.
3
mf
mf
mp
mf
3
mp
mf
mf
mp
DB.
K
3
mf
mp
Vln. I
gliss.
mf
mp
mf
mf
simile
21
Y.M. 173
Cl. I & II
Bsn. I & II
Hn. I & II
a2
a2
1.
gliss.
mf
Vla.
DB.
f
Vc.
Vln. II
3
3
B. Trb.
mf
3 3 gliss. gliss.
Trb. I & II
Vln. I
Tpt. I & II
Hp.
Hn. III & IV
Tba.
pizz.
Y.M. 175
Bsn. I & II
Xyl.
Hp.
DB.
9
9
9
2.
9
9
22
Y.M. 176
(violins only)
mp
Fl. I & II
Ob. I & II
Cl. I & II
Picc.
Bsn. I & II
Tba.
1.
2.
mf
Timp. Xyl.
mp
mp
3
mp
mp
5
mf
W. Bl.
Hp.
Cast.
mp
Trgl.
Whip
B§ - b / Ab - §
1.
5
mf
mf
5
mf
6
(only play if trem not possible on castanets)
2.
mp
ff
mf
6
5
f
20
f
mf
mf
f
p
f
mf
f
ff
Vln. II
Vla.
Vln. I
Vc.
DB.
23 180 L Y.M.
Y.M.
Y.M.
Picc.
Fl. I & II
Hn. I & II
Xyl.
a2
2.
1.
p
3
3
p
a2
3
p
2.
a2
3
2.
2.
a2
p
3
3
3
3.
3
p
mp
mp
mp
E§ - b
Eb - § A§ - b
D§ - b
Db - §
mp
L
pizz. Vln. I pizz.
pizz.
pizz.
mp
(pizz.)
mp
arco
p
arco
p
mp
DB.
mp
mp
Vc.
1.
Vla.
mp
mp Cast. W. Bl.
Vln. II
(add woodwinds)
wood block/castanets/claves, or small drum with no snares etc.
mp
Trgl.
Hp.
mp
Hn. III & IV
p
mp
Bsn. I & II
mp
Cl. I & II
(clarinets)
1.
Ob. I & II
24
187
Y.M.
3
3
3
Y.M.
(add (limited) brass)
(violins (upper, melodic line))
3
Y.M.
M
3
3
3
3
(simile throughout, written as one continuous line for simplicity of notation)
3
3
3
3
3
3
3
3
low brass (or a simplified version of this: one 'd' the start of each bar etc.)
p
Y.M.
Picc.
Fl. I & II
Ob. I & II
Bsn. I & II
Hn. I & II
3
3
3
3
1.
p
a2
p
3
Vln. I
3
3
3
3
3
3
3
(p)
3
3
p
3.
arco
simile
3
M
3
3
arco
p
Vc.
DB.
1.
Vla.
3
mp cantabile
mp cantabile
Vln. II
1.
mp
Hn. III & IV
a2
p
Cl. I & II
3
3
3
3
25
194
Y.M.
Y.M.
Picc.
3
Fl. I & II
Ob. I & II
3
3
3
3
3
Y.M.
Y.M.
3
(by this point the whole ensemble should be playing)
3
3
3
3
3
3
1.
3
3
3
a2
5
mp cantabile
3
a2
5
mp cantabile a2
Cl. I & II
3
mp
3
a2
Bsn. I & II
Hn. I & II
3
mp
1.
3
3
3
con sord (straight mute) 1.
mp
Hn. III & IV
3
3
3
3
Trb. I & II
B. Trb.
Tba.
Vc.
DB.
3
3
3
Vla.
3
3
mp
Vln. I
Vln. II
3
Tpt. I & II
3
mf
3
3
mp
mp
mp
5
mp
3
3
arco
3
26
200
Y.M.
Y.M.
3
3
mf
3
3
3
mf
Y.M.
3
3
3
3
3
3
3
3
3
3
3
(mp) Y.M.
Picc.
mf
(1.)
6
5
a2
Bsn. I & II
Hn. I & II
3
5
5
mf cantabile
5
gliss.
2.
mf cantabile
3
3
gliss.
3
2.
mp
mf
Hn. III & IV
5
1.
5 5
Cl. I & II
6
Ob. I & II
(1.)
Fl. I & II
I. (con sord.)
Tpt. I & II
1.
Trb. I & II
mf
3
3
senza sord.
3
mp
mp
B. Trb.
3
(mp)
mp
Tba.
Xyl.
Hp.
3
3
Vln. I 6
5
3
3
3
3
3
3
3
3
3
3
3 3
3
3
5
3
5
mf
mf
DB.
mf
Vc.
mf
Vla.
mf
Vln. II
mf
mf
3
3
3
3
3
3
3
3
N
(violins)
206
Y.M.
Y.M.
Y.M.
Picc.
3
3
3
3
a2
Fl. I & II
Ob. I & II
3
3
3
3
3
3
3
3
3
3
Tpt. I & II
Trb. I & II
3
3
3
f a2
f
3 3
3
3
3
3 3
3
3
f
3
3
3
3
3
3
3.
f
3
3
3
f
f
f
3
f
3
mf
3
B. Trb.
f
Hn. III & IV
5
3
Hn. I & II
5
3
f
Cl. I & II
3
a2
Bsn. I & II
Y.M.
27
mf
a2
mf
mf
Tba.
Timp.
Xyl.
B. D.
Vla.
Vc.
DB.
f
3
3
3
3
Vln. II
mf
mf Près de la table
3
3
3
3
3
3
3
3
f
Vln. I
mf
mp
3
3
Hp.
3
3
N
3
5
5
3
f
f
3
3
3
3
3
f
f
3
3
f 3
3
OPTIONAL IMPROVISATION by Young musicians can begin at this point. The improvisation should begin over the orchestral held notes (b. 215). N.B. if improvisation takes place, the ff in the orchestra should diminuendo to mp over the course of about a minim.
28
Y.M. 211
3
Y.M.
3
Y.M.
Y.M.
Picc.
3
3
3
Ob. I & II
Bsn. I & II
3
Hn. I & II
mf mf
Tpt. I & II
3
f
f
3
3 3
3 3
ff
ff
3
ff
ff
ff
ff
ff
ff
ff
ff
ff Tba.
Timp.
Xyl.
T.-t. B. D.
Hp.
Vln. I
Vln. II
Vla.
Vc.
3
f
mp
3
3
5
5
3
3
3
3
6
ff
ff
ff
3
3
3
5
6
3
ff
normale
ff
ff
ff
divisi
ff
ff
5
ff
f
DB.
3
Cast.
ff B. Trb.
ff
ff
3
3
3
3
3 3
3
3
3
Trb. I & II
3
3
3
3
3
mf
Hn. III & IV
3
3
3
3
3
Cl. I & II
3
a2 Fl. I & II
divisi
attacca
29
Variation V Courageous Rondo
(N.B. if more time is needed (for the praticalities of moving between groups of young performers) simply repeat the opening rhythmic motive in bar 1 until needed. If a long duration of time is needed, begin the rhythm on a drum (without snares) first before bringing in other pitched instruments)
Marcia moderato
217 q = 90
Y.M.
(woodwinds and violins (if the octave higher is too high at times, combine notes from both the higher and lower octaves etc.))
mf
cellos, violins
Y.M.
Vln. I
Vla.
mf
giocoso, energico
mf
giocoso, energico
mf
giocoso, energico (Refer to the corresponding instruments in the orchestra for appropriate bowings/tonguings (as articulation is slightly different for winds/brass and strings in some sections of this variation, parts of the young performers' parts are presented without articulation so as not to cause confusion. Young string players should use the same bowings as the strings in the orchestra, etc.))
1.
giocoso, energico
2.
G
1.
2.
Y.M.
Y.M.
224
Vln. I
pizz.
pizz.
pizz.
pizz.
mp
mp
DB.
(divisi upper and lower desks if necessary) (arco)
Vc.
mp
Vla.
('cellos and basses only)
mf (divisi upper and lower desks if necessary)
mp
Vln. II
pizz. mp
arco
mf
ff
ff
30
Y.M.
Y.M.
Y.M.
Bsn. I & II
mf
giocoso, energico
mf
giocoso, energico a2
a2
a2
a2
Tpt. I & II
Timp.
mf
giocoso, energico
mf
giocoso, energico
mf
giocoso, energico a2
Vc.
DB.
mf
ff
giocoso, energico
giocoso, energico
mf
mf
mf
giocoso, energico
mf
giocoso, energico
arco
arco
mf
ff
mf
mf
arco
mf
mf
giocoso, energico
giocoso, energico
giocoso, energico
giocoso, energico
mf
giocoso, energico
arco mf
giocoso, energico
C§ - #
C# - §
O
mf
giocoso, energico
mf
Vln. I
Vla.
Vln. II
giocoso, energico
mf
(without snares)
Hp.
(D§ C§ B§ / E§ F# G§ A§)
B. D.
giocoso, energico
mf
1.
S. D.
Xyl. Cymb.
Hn. III & IV
Tba.
giocoso, energico
mf
a2
B. Trb.
giocoso, energico
Trb. I & II
mf
a2
a2
Hn. I & II
high/medium drum (no snares)
f
Cl. I & II
ff
(add brass/piano/keyboards)
(add brass/piano/keyboards)
Ob. I & II
mf
ff
Picc. Fl. I & II
mf
O
229
D§ - # C§ - #
1.
31
2. Y.M.
236
Y.M.
Y.M.
Picc.
Fl. I & II
Ob. I & II
Cl. I & II
Bsn. I & II
Hn. I & II
Hn. III & IV
Tpt. I & II
Trb. I & II
mf
f
(a 2)
f
f
ff
f
f
f
ff
f Tba.
Timp.
Xyl.
Cymb.
S. D. B. D.
Hp.
Vln. I
DB.
D# - § C# - § D§ - #
D# - b
f
f
ff
f
f
ff
f
f
Db - §
Db - #
D# - b
Vc.
Vla.
2.
Vln. II
ff
f
B. Trb.
(a 2)
f
ff
f
(a 2)
f
f
f
f
f
f
ff
f
ff
32
242
Y.M.
Y.M.
mf
Y.M.
Picc.
Fl. I & II
Hn. III & IV
Tpt. I & II
f
ff
Cymb.
f
Vln. I
Vc.
f DB.
D§ - #
f
ff
ff
D# - b
f
f
ff
ff
a2
a2
a2
a2
f
(a 2)
f
ff
f
f
ff
f
f
ff
f
f
ff
f
Vla.
ff
Vln. II
f
Hp.
ff
Xyl.
B. D.
ff
f
ff
f
ff
ff
mf
f
ff
f
B. Trb.
f
Timp.
Trb. I & II
Tba.
Cl. I & II
Hn. I & II
mf
ff
Ob. I & II
Bsn. I & II
P
P
f
f
Db - § C# - § B§ - b / E§ - b F# - §
G§ - b C§ - #
248 Y.M.
Picc.
Cl. I & II
Q
mp
mf
1.
1.
1.
mf
Bb - §
Hp.
Vln. I
Vla.
Vc.
mf
Vln. II
mp
mp
mf
mf
Cast.
mf
1.
mf
mf
mp
B. Trb.
mf
Trb. I & II
mp
Tpt. I & II
Xyl.
Hn. III & IV
Tba.
(violins/oboes/flutes (if played)
mp
Ob. I & II
Hn. I & II
Fl. I & II
Bsn. I & II
33
pizz.
pizz.
DB.
pizz.
(f)
mp pizz.
(f)
mp pizz.
(f)
mp
mp
(f)
mp
(f)
Q
mp
(f)
mp
(f)
mf
mf
mf
mp
mp
mp
(f)
(f)
(f)
mf
mf
34
254
Y.M.
Y.M.
Picc.
p
Cl. I & II
p
1.
Hn. I & II
1.
Tpt. I & II
B. Trb.
Trgl.
Cast.
S. D.
mf
f
f
Gb - §
Hp.
f
Vln. I
Vln. II
Vla.
Vc.
DB.
Xyl.
Trb. I & II
Tba.
1.
pp Hn. III & IV
p
p
(SOLOISTS from 'cellos)
Ob. I & II
Fl. I & II
Bsn. I & II
(SOLOISTS from woodwinds, strings)
p
p
(without snares)
ppp
B§ - b C# - §
Sons étouffés
p
f
p
f
f
p
(p) leggiero
p
(pizz.)
arco
(p) leggiero
(pizz.)
p
f
p
f
arco
arco
(p) leggiero
258 Y.M.
Y.M.
Fl. I & II
Ob. I & II
Cl. I & II
Picc.
Bsn. I & II
p
3.
4.
pp
pp
Eb - §
p
1.
Trgl.
Hp.
1.
pp
S. D.
2.
Xyl.
p
Hn. I & II Hn. III & IV
35
E§ - b
Eb - §
G§ - #
F§ - #
Vln. I
Vln. II
Vla.
Vc.
DB.
36
262
Y.M.
Y.M.
Ob. I & II
Cl. I & II
Picc.
Fl. I & II
Hn. I & II
2.
S. D.
3.
Bb - §
normale
D§ - #
normale
Hp.
Trgl.
(different soloists?)
1.
F# - §
4.
(1.)
Vln. I
Vln. II
p
Bsn. I & II
Hn. III & IV
loco
Vla.
Vc.
DB.
R
Y.M.
265
(different soloists?)
Y.M.
Y.M.
Fl. I & II
Ob. I & II
Hn. I & II
normale normale
f
a2
f
a2
a2
f
f
f
ff
ff
B. D.
G# - §
arco
(p)
arco
(p)
(p)
(p)
f
ff
f
f
f
D# - b Db - §
ff
f
(p)
(normale)
S. D.
DB.
ff
f
Vc.
ff
f a2
f
Vla.
Vln. II
ff
f
Vln. I
mp
a2
Xyl.
Hp.
f
f
large drum (no snares)
ff
f
(cymbals, tambourine, triangle etc.)
Cymb.
(tutti - all wind, brass, piano, tuned percussion)
f
B. Trb.
Trb. I & II
Timp.
Tpt. I & II
Tba.
Hn. III & IV
f
Cl. I & II
Picc.
Bsn. I & II
37
(tutti - all wind, brass, piano, tuned percussion)
pizz.
f
f
pizz.
arco
arco
(mf)
f
f
f
f
f
ff
38
270 Y.M.
Y.M.
f
Y.M.
ff
Picc.
Fl. I & II
Hn. III & IV
Tpt. I & II
ff
f
ff
f
ff
f
Vln. I
Vc.
DB.
D§ - #
f
f
f
f
(with snares)
f
ff
f
f
ff
f
f
f
ff
f
ff
f
D# - b
ff
f
ff
(f)
ff
ff
Vla.
(woodwind, high brass, strings)
f
ff
Vln. II
f
Hp.
f
ff
f
ff
f
B. D.
f
Xyl.
ff
Timp.
S. D.
ff
f
Cymb.
f
ff
f
f (a 2)
B. Trb.
Trb. I & II
Tba.
Cl. I & II
Hn. I & II
Ob. I & II
Bsn. I & II
39
Y.M.
Picc.
275
Fl. I & II
Ob. I & II
f
Cl. I & II
f
Bsn. I & II
f
Hn. I & II
Hn. III & IV
Tpt. I & II
Trb. I & II
a2
a2
mp
a2
a2
a2
a2
a2
f
mp
mp
mf
mp
mf
mf
mf
mf
mf
mf
Vln. II
Vla.
mp
p
DB.
mf
Vc.
Vln. I
mf
mp
mp
mf
mp
mp
mp
Tba.
mf
mp
B. Trb.
mp
f
mp
f
S
(all woodwinds (if played)
40
Picc.
280
Y.M.
Fl. I & II
Cl. I & II
Hn. I & II
mp
mp
mp
mp
mp
f
mp
mf
f
f
f
f
f
mf
mp
mf
mf
mp
f
mf
f
mf
f
mf
mf
mf
mf
mf
f
f
mp
mf
mp
solo
p
mf
Vc.
(violins, woodwinds)
f
Vla.
Vln. I
Vln. II
mp
B. Trb.
Xyl.
Trb. I & II
Tba.
Tpt. I & II
mp
Hn. III & IV
mp
Ob. I & II
Bsn. I & II
mf
mf
DB.
Y.M.
285 T
p
(brass)
(trumpet)
Y.M.
p
Y.M.
Bsn. I & II
Vln. I
(trombones) p
p 1st desk only
p
solo p
DB.
3
solo
3
3
3
3
3
3
3
3
3
3
3
3
3
3
mp
3
3
1.
mp
3
3
3
3
p
3
3
3
solo
Vc.
3
Vla.
3
('cellos & violins)
Vln. II
41
3
3
3
3
289
Y.M.
Y.M.
mp
Y.M.
3
Ob. I & II
Bsn. I & II
Xyl.
3
3
3
3
1.
3
f
3
3
3
3
mp tutti pizz.
mp
tutti pizz.
mp
tutti pizz.
f
a2
f
mp
Vc.
3
Vla.
Vln. II
tutti pizz.
Vln. I
3
Cl. I & II
mp
Picc. Fl. I & II
mp
f
a2
f
arco
f 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
42
Y.M.
293
f
Y.M.
Y.M.
Y.M.
3
3
f (snare drum) Picc. Fl. I & II
Y.M.
Bsn. I & II
Hn. I & II
a2
3
3
3
3
3
3
3
3
3
3
f
ff
ff
3
3
3
arco
arco
f
3
3
3
3
3
3
3
3
3
3
f
ff
f
ff
3
f
ff
3
f
ff
ff
3
3
f
3
3
3
3
3
f
3
ff
f
3
3
f
3
3
3
3
3
3
3
3
3
f
3
3
f
Vln. I
f
3
f f
3
ff
S. D.
3
3
3
f
Cymb.
3
f
W. Bl.
Vc.
f
Vla.
3
3
Xyl.
Vln. II
Timp.
Hp.
3
a2
3
f
B. Trb.
f
f 2.
Tba.
Trb. I & II
f
Tpt. I & II
3
Hn. III & IV
f
Cl. I & II
3
f ('cellos, brass)
f (woodblock, tambourine, claves, etc.)
Ob. I & II
f arco
f
DB. f
3
3
ff
ff
3
3
3
3
3
f
ff
f
ff
3
3
3
3
3
f
ff
f
ff
3
3
3
3
f
f
3
3
Y.M.
297
Y.M.
Y.M.
3
3
3
3
Y.M.
Y.M.
Picc.
3
Fl. I & II
a2
Ob. I & II
Cl. I & II
Bsn. I & II
Hn. I & II
Trb. I & II
Tpt. I & II
Hn. III & IV
3
3
3
3
3
Tba.
f
Timp. f
f
Cymb. S. D.
Hp.
ff
Xyl.
W. Bl.
3
ff
Vc.
f
DB. f
ff
ff
3
3
3
3
3
3
3
3
3
3
3
3
3
ff
f
ff
3
f
f
ff
f
ff
f
3
ff
f
ff
f
3
3
3
3
3
3
ff
3
3
3
3
Vln. I Vln. II Vla.
3
3
3
f
a2
3
ff
3
B. Trb.
3
3
3
3
43
3
ff
f
ff
f
ff
3
3
44
300
Y.M.
Y.M.
Y.M.
3
3
a2
3
3
3
Y.M.
3 loco Picc. loco Fl. I & II Y.M.
Ob. I & II
Cl. I & II
Bsn. I & II
Hn. I & II
Tpt. I & II
3
3
3
3
3
3
3
3 a2
3
3
3
3
3
3
3
B. Trb.
Tba.
f
Timp. f
Xyl. f
W. Bl. Cymb. S. D.
Hp.
3
3
3
3
3
3
3
3
ff
ff 3
ff
ff
ff
3
3
ff
ff
3
ff
ff
ff
ff
ff
ff
ff
3
3
3
3
3
3
ff
ff
ff
ff
ff
ff
loco
ff
f
f
3
ff
3
ff
Vc.
DB.
Vla.
Vln. I
ff
Vln. II
3
3
Trb. I & II
3
Hn. III & IV
ff
ff
ff
attacca
45
Variation VI
Lento q = 44
305
Hp.
Db - § B§ - #/F# - b
mf sonore
Vc.
solo
3
tutti mf
DB.
mf
(D§ C§ B# / E§ Fb G§ A§)
U
più f
('cellos, bassoons)
p
mf
D§ - # C§ - # B# - §/Fb - # A§ - #
315
mf
mf
attacca
Prideful Passacaglia
q = 60
Y.M.
Variation VII
Adagio nobilmente
Vla.
Vc.
Vln. II
(tutti)
DB.
Vla.
DB.
p
Vc.
Vln. II
323 V Y.M.
Vln. I
3
3
tutti
3 3 3 Vc. f solo DB.
Vln. I
più f
più f
U
Hp.
310
Y.M.
W
46
(violins) Y.M. 331
Y.M.
Ob. I & II
p cantabile
Vc.
DB.
pizz.
p cantabile
Vla.
W Vln. I Vln. II
1.
Cl. I & II
Bsn. I & II
p
p
X (add clarinets) Y.M. mp
339
Y.M.
Picc.
Fl. I & II
mp
Cl. I & II
Bsn. I & II
mp
1.
mp
Hn. III & IV
Vla.
Vc.
mp
mp
mp DB.
mp
X Vln. I
mp
3.
mp
Vln. II
mp
1.
Hn. I & II
mp
Ob. I & II
47
Y
Y.M.
Y.M.
346
Picc.
Fl. I & II
(woodwinds)
mp
Ob. I & II
Cl. I & II
Bsn. I & II
Hn. I & II
1.
mp
(D# C# B§ / E§ F# G§ A#)
B§ - # D# - §
A# - § B# - §
D§ - #
F# - §
F§ - #
mp
Y Vln. I
DB.
mp
Vc.
con sord. (cup mute) 1.
Vla.
mp
Vln. II
Hp.
Tpt. I & II
Xyl.
Hn. III & IV
Trb. I & II
D# - § C# - §
48
Y.M.
Y.M.
351
Picc.
Fl. I & II
Cl. I & II
Bsn. I & II
Hn. I & II
F§ - #
F# - §
Vc.
Vla.
Vln. II
DB.
Trb. I & II
Vln. I
Tpt. I & II
Hp.
Hn. III & IV
Xyl.
C§ - #
49
Z
355 Y.M.
(woodwinds, violins, keyboard, tuned percussion)
mf
Y.M.
mf
Picc.
mf
a2
Fl. I & II
Ob. I & II
Cl. I & II
mf
a2
a2
mf
mf
a2
mf
mf
C# - § / F# - §
mf
mf
mf
arco
mf
mf
mf
Z Vln. I
DB.
Vc.
Vla.
Vln. II
Hp.
mf
mf
Xyl.
mf
Tba.
mf
B. Trb.
mf
Trb. I & II
senza sord (Tpt. 1.)
Tpt. I & II
mf mf
Hn. III & IV
mf
Bsn. I & II
Hn. I & II
50
360 Y.M.
Y.M.
Y.M.
Picc.
Ob. I & II
Cl. I & II
Bsn. I & II
Hn. I & II
Timp.
f
a2
f a2
f
f
f
f
f
f
f
f
AA
f
f
f
f
f
f a2
Vc.
Vla.
f
f
medium/low drum (no snares)
Vln. II
Vln. I
DB.
f
AA
f
Cymb.
Hp.
B. Trb.
B. D.
Trb. I & II
Xyl.
Tpt. I & II
Hn. III & IV
Tba.
f
Fl. I & II
f
f
f
51 364 Y.M.
Y.M.
Y.M.
Picc. Fl. I & II
Cl. I & II
loco
a2
Tpt. I & II
Trb. I & II
Bsn. I & II
Hn. I & II
Hn. III & IV
B. Trb.
Tba.
Timp.
Xyl. B. D.
Hp.
Vla.
Vc.
DB.
Vln. I Vln. II
Ob. I & II
52 367 Y.M.
Y.M.
Y.M.
Picc.
Fl. I & II
Ob. I & II
Cl. I & II
Bsn. I & II
Hn. I & II
Hn. III & IV
Tpt. I & II
Trb. I & II
B. Trb.
Tba.
Timp.
Xyl. B. D.
Hp.
Vc.
DB.
Vla.
Vln. I Vln. II
OPTIONAL IMPROVISATION by Young musicians can begin at this point. The improvisation should begin over the orchestral held notes in b. 374
370 Y.M.
Y.M.
Y.M.
Picc.
Ob. I & II
Cl. I & II
Fl. I & II
Hn. III & IV
Tpt. I & II
Bsn. I & II
Hn. I & II
(più f)
(più f)
(più f)
(più f)
(più f)
(più f)
(più f)
(più f)
(più f)
B. Trb.
Trb. I & II
53
(più f)
Tba.
Timp.
Xyl.
B. D.
(più f)
Hp.
Vln. I
Vln. II
Vla.
(più f)
(più f)
mp
f
ff
(più f)
(più f)
(più f)
Vc.
(più f)
DB.
(più f)
attacca
54
Finale
Allegro q = 120
Picc. 374
Fl. I & II
Ob. I & II
* the dynamics in this section (until b. 411) should feel like a long, gradual crescendo from mp to ff
mp*
3
3
3
3
3
3
3
Hn. III & IV
Tpt. I & II
Trb. I & II
B. Trb.
Tba.
Hn. I & II
Timp.
mp*
mp*
Xyl.
3
Bsn. I & II
mp*
mp* Cl. I & II
simile
mp*
Allegro
Vln. I
q = 120
Vln. II
mp*
mp*
3
Vla.
mp*
Vc.
3
3
3
3
mp*
DB.
3
mp*
3
3
55
BB
382
Picc.
Fl. I & II
3
3
Ob. I & II
Cl. I & II
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Trb. I & II
B. Trb.
Bsn. I & II
Hn. I & II
Hn. III & IV
Tpt. I & II
Tba.
Timp.
Xyl.
Vln. I
3
DB.
3
1.
mf*
3.
mf*
1.
mf*
Vc.
4.
mf*
Vla.
2.
mf*
Vln. II
3
BB
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
56
Picc.
390
Fl. I & II
3
Cl. I & II
3
3
3
3
3
3
3
3 3
a2
3
3
(mf)
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
mf*
Trb. I & II
(mf)
Tpt. I & II
Hn. I & II
Hn. III & IV
CC
(mf)
3
Bsn. I & II
(mf)
3
Ob. I & II
2.
4.
1.
a2 Hn 1 bell up
a2
mf*
B. Trb.
Tba.
Timp.
Xyl.
(mf)
mf*
(mf)
mf*
Vln. I
Tamb.
W. Bl.
Vln. II
3
Vla.
3
DB.
3
3
3
3
3
3
Vc.
3
(mf)
3
3
3
(mf)
(mf)
3
3
3
3
3
3
3
mf*
CC
3
3
3
3
3
3
3
3
3
3
3
3
3
57
Picc.
398
Fl. I & II
3
Cl. I & II
Trb. I & II
1.
3
3
3
3
3
3
3
3
a2
3
3
3
3
3
(f)
3
3
3
3
3
3
3
3
3
3
3
3
3
3
(f)
(f)
(f)
Tpt. I & II
(f)
3
Hn. III & IV
3
3
Hn. I & II
Ob. I & II
(f) 3
Bsn. I & II
a2 Hn. 3 bell up
(f)
(f)
(a 2)
Hn 2 bell up
(f)
B. Trb.
f
Timp.
Xyl.
(f)
(f)
D§ C§ B§ / E§ F§ G§ A§
.
f
3
3
Vc.
ff
Vln. I
Vla.
iss gl
Vln. II
(f)
(f)
(f)
DB.
Hp.
Tamb.
W. Bl.
gli ss.
Tba.
3
3
3
3
3
3
3
(f)
3
(f)
3
3
3
3
3
3
(f)
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
ALL SING (Young performers and audience N.B. if preferred bring audience in on the second repeition of the song at b. 420)
58
Maestoso
Y.M. 406
Y.M.
Picc.
Cl. I & II
Ob. I & II
Hn. I & II
Fl. I & II
Bsn. I & II
3
3
3
3
3
Trb. I & II
3
3
3
ff
ff
3
a2
3
a 2
ff
(a 2)
ff
Tba.
Timp.
Xyl.
Vln. I Vln. II
Vla.
Vc.
DB.
gli ss.
3
3
3
3
3
3
3
3
3
3
3
3
ff
loco
f
f
normale
normale f normale
normale f
F§-F#
Maestoso
q = 60 (h = q)
ff
f
ff
ff
ff
ff
.
ff
ff gl iss
ss. gli
ff
ss. gli
Tamb. W. Bl. T.-t.
Hp.
ff
a2
ff
a 2 (bells up)
ff
a2
ff
Hn. 4 bell up
f
Be -
f
Be -
ff
B. Trb.
3
ff
Tpt. I & II
Hn. III & IV
3
q = 60 (h = q)
f
f
59
DD
Y.M. 413
gone
Y.M.
Picc.
gone
dull
care!
dull
care!
I
I
pri - thee be- gone from me!
Be
pri - thee be- gone from me!
gone
dull
care!
-
gone
dull
care!
You
You
and
and
I
I
shall ne - ver a - gree.
shall ne - ver a - gree.
Long
time
hast thou been
tar - ry - ing here and
Long
time
hast thou been
tar - ry - ing here and
Cl. I & II
Bsn. I & II
Tamb. S. D.
B. D.
f
f
D§ - # C§ - #
D# - b
Db - §
D§ - # C§ - #
E§ - b F# - §
C# - §
D# - b
B§ - b/
G§ - #
f
DB.
f
Vc.
C# - §
f
DD Vln. I
Vla.
f
Vln. II
f
(D§ C§ B§ / E§ F# G§ A§)
Hp.
f
Trgl.
Ob. I & II
f
Timp.
Hn. III & IV
-
Be
Fl. I & II
Hn. I & II
f
60
Y.M.
EE
418
fain
Y.M.
Picc.
thou woulds't me kill,
fain
thou woulds't me kill,
But i'
But i'
faith dull care,
faith dull care,
Thou ne- ver shall havemy will.
Be - gone
Thou ne- ver shall havemy will.
Ob. I & II
Bsn. I & II
Hn. I & II
Hn. III & IV
dull
care!
I
pri - thee
be- gone from me!
Be-
pri - thee
be- gone from me!
Be-
f
B. Trb.
I
f Trb. I & II
care!
dull
Tpt. I & II
Fl. I & II
Cl. I & II
Be - gone
FF
f
Tba.
Timp.
Trgl.
Tamb.
Cymb. S. D. B. D.
Hp.
Vln. I
G# - §
F§ - b
Vln. II
DB.
F§ - #/Db - §
G§ - #
Bb - § D§ - #
G# - §
D# - §
f
(D§ C§ B§ / E§ F# G§ A§)
D§ - # C§ - #
C# - §
EE FF
Vc.
Eb - §
Vla.
f
61
Y.M. 423
Y.M.
gone
dull
care!
You
gone
dull
care!
and
You
and
I
I
shall ne- ver a - gree.
Long
shall ne- ver a - gree.
time
hast thou been
Ob. I & II
Cl. I & II
Hn. I & II
B. Trb.
Timp.
Trgl.
Cymb. S. D.
Hp.
Vln. I Vln. II
Vla.
D# - b
Db - §
D§ - # C§ - #
E§ - b F# - §
D# - b
C# - §
DB.
B§ - b/
i'
But
i'
Vc.
Tamb.
Trb. I & II
But
kill,
thou woulds't me
fain
here and
kill,
thou woulds't me
Tpt. I & II
fain
here and
tar ry - ing
tar ry - ing
Hn. III & IV
Tba.
Long
Fl. I & II
time
hast thou been
Picc.
Bsn. I & II
G# - §
Eb - §
gliss.
G§ - #
F§ - b
62
Y.M. 427
Y.M.
Picc.
faith
dull
care,
faith loco
care,
Thou
Trb. I & II
B. Trb.
B. D.
Hp.
F§ - #/Db - §
Vln. II
Vla.
Vc.
a2
a2
2.
a2
Vln. I
DB.
I
GG
loco
D# - §
Be -
Be -
a2
from me!
G# - §
pri - thee be - gone
from me!
D§ - #
pri - thee be - gone
Bb - §
I
G§ - #
care!
Be - gone dull
S. D.
will.
Tpt. I & II
my
care!
Cymb.
have
ne - ver shall
dull
Tamb.
Be - gone
Trgl.
will.
Xyl.
my
Timp.
have
loco
ne - ver shall
Hn. III & IV
Tba.
GG
dull
Thou
Cl. I & II
Ob. I & II
Hn. I & II
Fl. I & II
Bsn. I & II
63
Y.M. 431
gone
Y.M.
Picc.
Ob. I & II
Cl. I & II
Hn. I & II
B. D.
care! You and
I
faith
dull
care,
faith
dull
care,
kill,
But i'
Vln. I
Thou
Thou
fain thou woulds't me
But i'
DB.
kill,
Vc.
tar - ry-ing here and
fain thou woulds't me
Vla.
Long time hast thou been
Vln. II
Hp.
tar - ry-ing here and
Long time hast thou been
shall ne- ver a - gree.
shall ne- ver a - gree.
Cymb. S. D.
dull
I
B. Trb.
Xyl.
Trb. I & II
care! You and
Tpt. I & II
Timp.
dull
Hn. III & IV
Tba.
gone
Fl. I & II
Bsn. I & II
64
Y.M.
436
Y.M.
Picc.
ne - ver shall
have my will.
ne - ver shall
have my will.
Ob. I & II
Cl. I & II
Hn. I & II
Fl. I & II
Bsn. I & II
Tba.
Timp.
Xyl.
Tamb.
Cymb.
T.-t.
B. D.
Hp.
Vla.
Vc.
DB.
care!
Be - gone
dull
care!
Be - gone
dull
care!
ff ff
ff
ff
ff
ff
f
f
f
fff
fff
fff
fff
fff fff fff fff
a2
fff
ff
a2
fff
a2
fff
fff
ff
ff ff ff
ff
Vln. I Vln. II
dull
S. D.
Be - gone
care!
care!
dull
B. Trb.
dull
Be - gone
Be - gone
care!
Trb. I & II
dull
Tpt. I & II
Be - gone
Hn. III & IV
mf
fff
fff fff
mf
fff
fff
fff
fff
fff
fff
fff
Cheryl Frances-Hoad, April 2014
Orchestra; Chester Music; musicsalesclassical.com; 58501
Published on Aug 20, 2018
Orchestra; Chester Music; musicsalesclassical.com; 58501