Preface. Balkan Folk-Songs. Hausting melodies, reflecting, mirror-like, the rare beacty and pa- thos of mountain legend, the tragedy and happiness of a wondrous people and a primitive life. Of uaksown origin, these tunes ave passed from generation to generation of peasants who could neither read nor write music. They are to be heard everywhere in the vic- inity of the mountains and neighboring villages; sung by the little Peasant -girls as they dance, played by the shepherds on their pipes and fiddies, chanted by the soldiers at their bivouac fires, and loved by every one. For the development of this composition, four themes have been selected, the first and principal one, “O Maiko Moya,” following closely the sentiment of the words: “O my poor country, to thy sons so dear, Why art thou weeping, why this sadness drear? Alas! thou raven, messenger Gf woe, Gver whose fresh grave moanest thou so?” In the first five variations and the seventh, this theme is tke only one employed. As a pretude to the sixth variation, “Stara Planinay’ an ancient hyma to the mountains, is introduced, and as a Coda the dance-tune, “Nasadil e Dado” ‘Grandpa has planted a little garden. The eighth variation is preceded by a Macedonian appea] for help, made centuries ago to a neighboring coxstry. The composer gratefully acknowledges her indebtedness to the Reverend and Mrs. William W. Sleeper for the folk-songs obtained during their missionary life in that regioa; also to them aad to Mrs. May Sleeper Ruggies for interesting historical details of words and music. +. oe np teVariations on Balkan Themes. Mrs. H.H.A. Beach. Op. 60. or —— s — a a Adagio malincolico. (s-6s) sempre cantando92.) Pit mosso. (+ eee | —s = ee = = ARCRE rit. molto 404.) Maestoso. ()fae co rall. po peco zecel. ; staceato 1 « - ie SOmPTE Aim. its |Andante alla Barcarola. (# = 1090) a ele ooa Largo con molta espressione. (d= 42) = dolce cantabtle 4 Vv. e con } ’ — eet feb ee eea Poco pit mosso.(e=52) mano sintistra—/ #%a FAD. = ss ura cordaa temps (@ = 400) ~ . bint 2 pepety eit a 28s. ano sas agetea F#ene,, oe ae a ee ee oS oe . — SS SSS a —S SS aS —S + + . > al ~~ iF ~ ad : ( JER fas a = i = —s- e e \¢ — SSS See ! | PICO @ Poco crese. { staccata Cet == ee == SSS = tet at + wee r= att SI © ge sae os 37 ea ~~ awe eae Ss ae Sa as + - ~~ ~ Ton u pedal e wee ao er = - ee =# —- con pedale * eo se? Vivace. i ~ a" ; = oe oe t = + — “engal CREE VII SS 4 2 SEE yp g : a2 | SAE rubato} ( #: 100; a ee a7 eee — Sees xe ey 7 ere - =k oo 8 poco pix lento edi na = | + PE gg OFA & Aa \% | ergp SE * + A oe = * aRe. Lento calmato.(é:55) rade. ras J - os _ = ft, o—* x Fee gestgtte aoe — == = ate = irae a : oon plegatissima ifae 0 Cress. —_ poco & po me Marcia funerale. (60) una corde PEP ~ 41a, Tad Nim & n iS Tien « @TS tried Dd Kile A # . 18 a un J oe= oe Wu ASHP ‘te at . al ASH on tthe * 1 RAG / {r Hh) * / titan rte ftin he 2 4 oe Pedale con — ¥. me fils. Lee Rigs we Hille Sai eS po AA ae = pa Ss = a ah J Le —— is ———* = ‘ ‘ will. wa oniswil THI a tempo : — ey Hib pitts Sey NF al tts Aly F ithe EE ote HT tite una corda = Ht sate 1th ae THs & 3 3 &f. red rN 2 > £ eke poco cres: < Quasi fantasia.ya= | 6 : i accel, € cresc. => = ee ee ooo * se 2, | . ; = tote ¥ —————— | Pass a, % Do, get con Pedale = = rete be te 2 be he be Se t jo 3-3 con agitaxione —S == i La eee saw & legato e forte ( ze i oo —2 , Adagio come prima a ie : i Pp eee EeTa rh i* » wR. Hy MLL TTeets THN Old It TTR THOS a. je Ne. he WE Wibgestd tte Tv ant we He) Hyatt by s see, iets ne [~ My a nie an Ny alhie ANT ‘ * Hohe * pate hh Ht AN lth oh nih cy isl 1. Aye wR ti) 4 TA] it espressivoa da & 8 3 3 & =