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School of Interpretation and theoretical music studies


Scientific coordinator: Viorel Munteanu, Phd Academic Professor

Author: Sebastian Vîrtosu, PhD candidate


Contents: Argument / 3 Part I, “Shostakovich – Style between styles in modern music” • Chapter I / 15 • Chapter II / 25 • Chapter III / 29 • III. 6. 1. Quartet no. 1, op. 49 / 44 • III. 6. 3. Quartet no. 4, op. 83 / 50 • III. 6. 4. Quartet no. 6, op. 101 / 55 • III. 6. 5. Quartet no. 12, op. 133 / 61 • III. 6. 6. Quartet no. 13, op. 138 / 66 • III. 6. 7. Quartet no. 14, op. 142 / 68 • III. 6. 8. Quartet no. 15, op. 144 / 72 Part II / 78 • 1. Introduction / 78 • 2. 1. Quartet no. 3, op. 73 / 81 • 2. 2. Quartet no. 5, op. 92 / 105 • 2. 3. Quartet no. 7, op. 108 / 133 • 2. 4. Quartet no. 8, op. 110 / 158 • 2. 5. Quartet no. 9, op. 117 / 181 • 2. 6. Quartet no. 10, op. 118 / 202 • 2. 7. Quartet no. 11, op. 122 / 221 Part III, Interpretative Parallels / 234 • 1. Preliminary analyzes / 234 • 1. 1. Quartet no. 3, op. 73 / 236 • 1. 2. Quartet no. 5, op. 92 / 241 • 1. 3. Quartet no. 7, op. 108 / 244 • 2. Detailed analyzes / 247 • 2. 1. Quartet no. 3, op. 73 / 247 • 2. 2. Quartet no. 5, op. 92 / 253 • 2. 3. Quartet no. 7, op. 108 / 257 • 2. 4. Quartet no. 8, op. 110 / 260 • 2. 5. Quartet no. 9, op. 117 / 265 • 2. 6. Quartet no. 10, op. 118 / 271 • 2. 7. Quartet no. 11, op. 122 / 276 Conclusions / 280

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92 in B flat major by Dmitri Shostakovich / 390 References / 392 Index of names / 395 3 . 5 op. A scenic view of the author of this work.Abstract /284 Appendix / 307 • Quartets formal analysis of Part II of the thesis / 307 • Discography List of the Dmitri Shostakovich string quartets / 388 • Creative interpretations. based on the music of the string quartet no.

ABSTRACT Keywords: string quartet. Dmitri Shostakovich. the Quartet "Borodin". the Quartet "Gaudeamus". so we wanted to bring to the fore the interpretative vision of Gaudeamus quartet on several chamber works written for string quartet by Dmitri Shostakovich. was put together side by side with two large interpretative vision of two Soviet formations. We believe that the younger generation. and the second interpretative vision belongs to Borodin Quartet. but so rare. Was necessary and timely appearance of a doctoral thesis. experience that can translate into practical solutions to technical instrumental problems. polimodalism. entitled String Quartet Dmitri Shostakovich's creation in music-Romanian cultural space as we believe fills a gap of information on this topic. to technical and interpretative 4 . I joined the interpretative vision of the Gaudeamus Quartet with confidence that 25 years uninterrupted on the altar of Romanian chamber music entitling me to be able to express our opinions even in the company of a reference names. The third reason that led to the writing of this thesis is to describe and analyze what is this the interpretative vision of Gaudeamus Quartet. only the void of information alone can not be the engine emergence of this thesis. who were dedicated several works for string quartet by Dmitri Shostakovich and interpreted almost all quartets in absolute premiere. or interpretation. started on the road of instrumental music. vibrato. style. expression. However. A trade secrets are not really secrets. are entitled to benefit from the experience gained over many years by the Gaudeamus Quartet members. the Quartet "Beethoven". and not only. but hard work for years. Both groups are considered the best interpretations reference of the string quartets by Dmitri Shostakovich. bow stroke. Only then discover shortcuts. The first interpretive vision belongs to Beethoven Quartet. Neither this interpretative vision Gaudeamus Quartet was not brought alone. or practical solutions. politonalism.

or computer) can have different technical characteristics and design software so there may be some differences in measuring and assessing the different playback devices. Will not be covered all aspects of Dmitri Shostakovich. with 5 . seemingly insurmountable. to be confirmed gradually throughout the paper. DVD player. the deductive method. probabilistic method. following the results to be extrapolated and applied for other quartets researched. on the other hand. can be difficult to distinguish objectively. Also. measurement and playback equipment (metronome. analytical method. 2) The fifteen string quartets of Dmitri Shostakovich's is a huge study material. subjectivism listener will have their own perceptions of certain characteristics of these groups performing chamber.problems. so we will examine several quartets. our model postulates the following sentences. inductive method. and some predictions. our scientific method is based on a unit of research methods. such as. descriptive method. of the Beethoven. the method of simplification. fixes wich can escape to a novice making him to struggle in vane and despair. after principle that once learned the algorithm research can be applied to the other. approximation method. unapproachable in one job. Here comes one who has experience helping the young aspiring to became a master in his chosen profession. a model that postulates means addressing some theses. Following aspect should not be neglected: while interpretative vision of the Gaudeamus Quartet is performed live. due to those theses postulated in the model set. extrapolation method. 3) Researchin all three diferent interpretative visions. Scientific method chosen in this paper. comparative method. On the one hand. Borodin and Gaudeamus Quartets. 1) Any description of the life of a man or his work will strike a similar paradox postulates of mathematics and physics. scientifically. Thus. nor all creation music for string quartet.

important. but that would be too big for a single work. the string quartets works were recorded over a few years. making it difficult to detect similarities and 6 . unfortunately. completely normal in these live recordings. stylistic. deep and anatomical research of each quartet. Predictions arising from the model set by us. technical interpretative. brings a tremendous amount of information impossible in a short and limited time. along with his theses. So not ideal laboratory conditions are met to perform parallel interpretative objectively. Prediction. a certain degree subjective in this research can not be avoided. will leave room for ambiguities. the other two interpretative visions. that extrapolation can be inferred quartets and other characteristics researched using information obtained from researched quartets. registration wich has. Beethoven. and mistakes can be eliminated by repeated passage in many recordings. professional. in terms of formal. 4) Failure of the research objectives of the three interpretative visions of the three Quartets. But we think the the basic. however. Therefore. of Beethoven and Borodin Quartets are made in studios with powerful equipment. Beethoven and Borodin. Monography. alongside with Soviet interpretations of the two Quartets. 3) The thesis will address to a few string quartets of Dmitri Shostakovich's because. are these: 1) will remain many aspects of life and work of Dmitri Shostakovich what will be missing from this thesis. musicology.unprofessional equipment. pedagogy will appear in the course of the thesis only where it is required for logical discourse imperative presence. Borodin. some technical imperfections or interpretative. Gaudeamus. musicology. and presenting technical solutions and performing. such as scientific research is recured. 2) The thesis is focused on presenting interpretative vision of Gaudeamus Quartet. historiography. not because we have been careful. will have a high degree of objectivity.

This simplification of a human life is beyond our control. "Why Shostakovich?" Tough question. Beethoven. this time. overwhelms us. these links do not talk about here. the human being. At this point we can answer and question from the beginning. because people. hard objectified in scientific terms. mathematicians and physics? Links are multiple. important similarities and differences are clear. a human being. and in space and time. And weight does not come from lack semantic terms or categories that describe them but rather by infinitely small microcosm or characterizing human being. as is mentioned above. we can not know fully. We can handle all aspects of life and its creation and therefore we never exhaust the subject itself. and not an ordinary being but the great Shostakovich. would be to name only Einstein fiddle and violin always go after him. approximation and statistics. Physics do the same when calculations involves infinity. in response to misunderstanding of infinity. like those of physical quantities mentioned above. is an automatic reaction to describe his life. numerical finite and tangible theory. To succeed objectifying a subjective act of interpretation. but we consider that the basic moments. Infinity by its size. The human being is finite. I went into the realm of physics? What relation is between music. however. However. for it can not do calculations with infinite numbers. musicians. We`ll proceed in our work in the same way. the infinite will be broken into a large finite number and approximate the infinite. hence the dificulty of a good and real description. In this way science can quantify subjective act as interpretation of music. but a comparison. Borodin and Gaudeamus. Artistic interpretation is essentially a subjective act. are hard to describe in words. 7 . even simple ones. net and objective of our research giving scientific character needed. Especially when we`ll compare between them this three different interpretative ways of each of this three groups.differences ideal three interpretive options. Resolving the impasse is to simplify. completely. so we avoid or simplify it. should be used the methods of simplification. is therefore a clear limit.

an another level of perception of his works. in a world full of wars. and even if it was connected to another universe parallel to our own. revolutions. which is beyond. Another reason was our desire to stress. Finally. the perception of his works was noticed only as anti-communist struggle. taking contact with these issues even since his childhood. all music would outline a universe. where the music allows. with its joys and sorrows. sound and images from the literary texts. without opening a controversy. We must believe that it was a complete artist. convulsions. music is independent in the sense that it does not need the help of other arts to express herself. It would be undesirable if all philologists and literates decides to remove musicality. We believe the time is right to suggest other plans of reception of his work. we want to clarify a sensitive issue that is of independent music with the other arts. moments that critics and the public understood a criticism against Soviet power in general and Stalin in particular. and an artist. Could not otherwise. Until now. rhythms and arrangements that creates an aesthetic only. or the story. or a double meaning. able to play all human states and not reductionist perceive it only as a "masked" critical of Bolshevism. but it is not just a series of sounds. after all Shostakovich was first a man. is exaggeration. Leading figure of twentieth century music. even different from ours. Yes. inconsistent in terms of Soviet power since Dmitri Shostakovich had its ups and downs. considering them unnecessary to prose or poetry. into a false dignity confronting the Soviet power. only a universe of sound. Why should the music remove the picture. terror. and after a critic of the Power of his time. Composer was not allowed to waste him.One of the reasons we choose Shostakovich was the destiny of a man. 8 . We find exaggerated these assertions and believe that it went too far with the release of music. referring here to his music where some moments are in many cases. Until halfway agree. grotesque. and his music. Stalinist dictatorship. sarcastic. unrelated to the world we live in. even surreal. agony and ecstasy.

My role as interpreter makes me look and find meaning at any musical compositions and in that sense I try to imagine. and even hear. and every music lover from the concert hall. architecture. In this complementarity of the arts. and someone else other details. stone. Visual arts plays music and sounds. shape etc. true colors translate to imagine. view as. "hear" or "listen" differently by viewers. in music terms such as harmony. literature words. wood. literature visualize pictures. Imagine. I visualize a story. In literature using terms from both.from it? All arts are independent of each other but when one of them manages to reach the realm of arts sisters. color. the rest is made by music itself. vibration. and not only delight themselves. Of course. visualize musical colors. Arts complement each other. image. While I interpret or play a composition. music and sounds. however. letters (themselves. Music uses sound. stories (drama). making it perfect. seen by two or more people at the same time. such as color. of course they have specific features. feelings or sensations. spoken. balance. with specific terms that handle a work. a story. like in literature. And even the same picture. in music. Returning to the thesis. since some of them will notice some details. music and visual arts. matter. Terms arts borrowed from each other. tone. each one has a personal view. tone. The same thing happens in literature. such as sound. it is divided into the following parts: 9 . harmony. do not read just letters and words. music shows us images. composition etc. in a word. are sound). musical or literary. image. a state or more. In the visual arts. sound. perfection is truly achieved. composition etc. fine arts light. I can not imagine an interpretation that does not have direction and purpose. in both of us aesthetic awakens emotions from that text of music or literature. everything you read. architecture. or different from me. that does not come from somewhere and does not lead anywhere. then. rhythm. for example in terms of visual arts to music. as an actor or simply reader. These are just starting points. outline color. about that text.

it may be any of them center end of a composition. Also in the first chapter then follows a review of various styles and composers. As everyone should be equal in rights. 8 and no. 5 of Webern. This will help young players. symphonies. Chapter II contains an analysis parallel between quartets no. Slowly but surely. Showing searches. 2 of Bartok. chamber 10 . 7. op. or religious. Chapter III is a brief selective through the creation of Dmitri Shostakovich (film music. Serialism. the first chapter contains mostly information and musicological or monography invoice. was passed in response to the tonal system considered outdated. not only in their work for the interpretation and study of the works of these composers. general formal analysis and stylistic analysis. reflecting the atomization of modern society and the hundreds and thousands of social groups. in order unchanged string of notes of music composition. strongly suggests automaticity inflexibility and the machines wich started with the industrial revolution. innovations and constant struggle against tradition pioneers of old masters. dynamic avantgarde trends. for example.• Part I describes in the first chapter. Dodecaphonism reflects strong egalitarian socialist and communist movements. 22 no. In tonalism could not it. This will include information musicological parallel. highlighting similarities and differences. unable to satisfactorily reflect the new features of modern society. so the 12 notes had a range equal right to express themselves fully. 10 of quartets of Dmitri Shostakovich and. cultural. including Dmitri Shostakovich. op. not on any of the twelve notes. operas. Atonalism. 2 of Enescu and "5 Pieces for String Quartet" op. professional. for example. and current employment in a musical or another. Serialism is undoubtedly the most accurate expression or mirror of the industrialized society. brings together composers as different styles that have interesting similarities and can see the springs of time. his music. no. automated entry of the machines in people's lives dehumanizing the human being. the spirit of the age (zeitgeist) in the art of music. every new trend appeared to cause rupture increasingly larger unit destroying tradition in parts becoming smaller and more. If the center was. D major. Thus. 17 no. could not complete the work than re note. instrumental concertos. This chapter II will be a useful tool for those interested.

no. enriching their professional culture. 9. prospective students will be on hand with information about different historiographical character compositions by Dmitri Shostakovich. So this part I full of information. year of first absolute auditions and performers. providing information about the year in which the work was composed. 10 and no. historical. In this chapter we will see that Dmitri Shostakovich was one of the most prolific composers of his generation. musicological. 9. no. stylistic. defining the technical and interpretive objective terms. 7. 3. work number. no. 8. Formal analyzes are at high resolution and can be found in the Appendix. some of the interpretative vision of Gaudeamus Quartet. ie quartets no. expression and phrasing building affixed to musical syntactic structures. 3 no. in terms of and quartets). no. 11 essential tests to be performed. interpretive and even didactic-pedagogical strong accents. Borodin. Gaudeamus of the string quartets analyzed in Part II. but the resolution of the first three. 11. 5. dynamics. Parts II and III contain clear and short. no. Interpretive parallels will be analyzed in more detail in quartets no. monography. I watched closely as objective quantification of an act eminently subjective musical interpretation. Part II. All interpretative vision can not be displayed because of the limited space of a written work. no. This chapter will be useful as a practical tool work. • Part III will present interpretive parallels between this three Quartets: Beethoven. Technical and interpretative information have teaching and pedagogical role. In this Part II of musicological information and didactic-pedagogical nature prevailed. no. Track parameters in the analysis of performances of the three groups were agogics. • Part II analyzes quartets no. 7. The reason for this decision is dictated by the huge size of data and reduced space of a 11 . technical. serving to outline a framework analysis understandable and logical further support for string quartet creation of Dmitri Shostakovich. 8. in thousands of hours spent in the classroom with students. 10 and no. 5 and no. being useful to an young musician just starting out. following that of the other remaining. The vast majority of such information is transmitted orally.

12 . and scoring on the information in Part I.thesis. and theater actors form Brasov Theater "Sica Alexandrescu". no. revealing the thinking behind a vision of a musical work. on the music of the Quartet no. but also the instrumental music students who wish to increase their cultural baggage specialized information. 11 by Dmitri Shostakovich. 5. the creation of technical and interpretative cassette inserted in a table where you can clearly see the similarities and differences of the three visions interpretative and the concrete.Discography of Dmitri Shostakovich's string quartets. Will serve primarily students of musicology and composition. no. 8. in B flat major. since were not made until today. --. DVD with show recording is attached on the cover art of the thesis. These analyzes find them very useful. the skeleton for building an interpretation in thousands of hours of individual study and rehearse of a Quartet. • Conclusions. in fact. To give an objective and scientific nature such as performing parallel we used an original method. op. 7. In these tapes have shown. expression. And besides. 9. the judges rank competitors from such technical and interpretative boxes. who directed the show. Formal analyzes --. 92. tempo.quartets.Creative interpretations. 3. It is. gathering competitor winning the most points after quantification track parameters. with references. technical or interpretative resolution of a passage or phrase. These conclusions will focus primarily on the information contained in Parts II and III. namely. dynamics. instrumental technique and interpretation (and phrasing) appropriate and adapted to different musical styles and trends. This vision was staged by actor Mihai Bica. containing a huge amount of information. if you will. declassified thousands of laboratory experiments performed to find the best solution to a passage or phrase. practical. and a high resolution. no. all music competitions. • Apendix. no. --. 10 and no. 5. no. namely. A scenic view of the author of this work.

I+Vlc.I (mark 3+4) --.Theme II (m.I (mark 3-2) --.b (m. preceed by 2 introductive measures ---. 81-87) Development ---. V. 73 IN F MAJOR PART I --.I --. 11-15) --.I+Vlc.I+Vlc. 1-10).I --. 24-25). 251) Exposition Introduction (m. 46-53. 28-29). V.e (m. V. Transition --.I Frase Av1 (m. 177) Theme I (m. 21-22).c1v (m.I --. 177 -185) ---. 13). 30-33). V. Theme Bv1 and Theme III became Subject and Countersubjectes of Fugue. 8-10).APPENDIX FORMAL ANALYZE OF QUARTET N. 3-4).I --.m (m. 3-10) --. 199-206) ---.l (m. mark 5). V. mark 5-2).f (m. V.I (mark 2-3) --. V. 6-8). 1-2) Vlc.Form of Sonata Sinoptic Table Exposition ---. V.(m.I --. V. V. Frase Av2 (m.II 13 . 26-27). 102 -177) Theme I. 42-43). --.I+Vlc.c (m.II Frase A (m. V.(m.I (mark 1-1) --. 23-24).a with an 8th down (m. V. V. 38-40).I --.a (m. 40-42).Theme II (m.j (m. 226-247) Coda ---.Fugue (m. 34-35).Theme I (m. Frase A variated (Av) (m.d (m.I. V. + V.b with an 8th down (m. 16-22) --.9-10).Theme III (m. Reprise ---.av1 (m.i (m.(m. 53 -61) ---. 28-33) --. 11-12). 5-6).dv (m.av (m. 19-20).g ( (m. V.Theme III (m. 3 OP. 23-27) --. V.I Concluzsion --.k (m. 44-45. Frase Av3 (m. 16). 36-37). V.I --. V. Vlc. şi Br.34-43) --.(m.+V. 14-15). 17-18).h (m.I --. V.I Frase A1 (m. V. Vlc. (m.I --.a (m. V.I (mark 2+3) --. V. + Br.

(m. 83-87) at Vlc. 152-153.I --. 120-125. (m. 54-57).mv (m. mark 16+3) CounterSubject at Vlc.p at Vlc. 108-109. 132-134. mark 15-1) Conclusion at V. mark 12-1) Subject at Vlc. mark 16+1) Subject at (m. 74-77) --. V. mark 14+5) Conclusion at V. mark 17-4) 14 .Frase B (Theme 2) (m. mark 14+5) Subject at V. 88-95. 99-102.I (m. 136-137. 118-119. (m. (m. V. mark 16-1) Subject at V.I (m. 96-99. 70-73) --. (m. 81-83). 54-62. 132-135. mark 13-1) CounterSubject at Vlc.I Development (Fugue) Theme I = Subject. mark 13+1) Conclusion at Br.pv at Vlc.II. 88-89). V. 119-120.I (mark 8) --. 138-145.ov1 at Br.pv1 at Vlc.I Transition (m. 143-149.c1 (m. 149-155.I Frase Bv2 (m. mark 9) --. (m. I Transition (m. 67-69). 135-138. 149-152. mark 17-4) Conclusion at Vlc. 74-77) --.a1 (m. mark 6) --. (m. mark 11-4). mark 15-2) Subject at Vlc. (m.I (m. 62-69) --.II (m. 145-147. V.I (m.s (m.II (m. mark 13-1) Conclusion at Vlc. 89-95). mark 15+1) Conclusion at Br.II (m. 81-87) --. V. 109-110. (m.r (m. 78-80) Frase C (Theme 3) (m.I (m.n (m. augmentat (m. mark 14-1) CounterSubject at Br. mark 12-2) Conclusion at V. mark 14-2) Subject at V. 62-67). mark 12+5) Conclusion at V. mark 10). 126-132. 121-128.b1 (m. (m.II (m. 136-142. V.ov at V.II (m. mark 15-1) CounterSubject at V. (m. 111-117. (m. 132-136.t (m. 102-104) (mark 11-1) . (m.II (m. 125-127. mark 14+1) CounterSubject at Vlc. 138-143. (m. 147-152.I --. mark 13) Subject at Br.nv (m. 84-87) Frase Bv1 (m.o at V. V.I (mark 6+8) --.m (m. V. mark 15+1) CounterSubject at Br. mark 16-1) Conclusion at V. 105-108) Conclusion at V. 58-61). mark 14+5) m1 at V. mark 12-1) Theme a III-a = CounterSubject at V. 78-80) --.I Frase Bv (m. V. 143-144.II (m.I (m. 115-117. V. 109-115. (m. mark 17-1) Conclusionata V. mark 13-2) Theme Bv1 = CounterSubject at V.I (m.II (m. 105-106) . (m. (m. 69-80) --. 69-73) (mark 7-1) --. mark 12+1) Conclusion at Vlc. 119-125. (m. 128-132.I (m.I (m. 102-108) .

mark 22+2).I --. 163-167. with a 5th down (m. V.II (m. mark 19+3) Codetă at Br. 158-159.I Transition (m. 155-158. 244-245). mark 20-1) Coda fugue Subject augmented.I (mark 24-1) --. (m.I+Vlc.I Frase Bv. (m.k (m. (m. V.I --. (m. 165-167. V.rv3 (m. V. Vlc. mark 19+1) Codetă at V.o.I Transition variated (m. 226-228). mark 27-1) 15 . mark 20+1) Subject augmentated at Vlc.I --.I Coda (m. V. a 4th down (m. mark 20) Subject augmented at V.av1 (m. 171-176.I --. 238-240). 183-185). V.I --. V. 177-185.I (mark 23+8) --. --.I --.c (m.I (mark 23) --.II (m.I (m.I --. V. 167-170. mark 18+1) v1 at Vlc. --. 184-185). 176-179.d (m. mark 18) Conclusion at Vlc. Frase Av1 (m. 160-162. mark 20+1) Subject at Vlc. 163-170. (m.I (m.m1 (m. 189) V. 232-234).n1v (m. mark 18) u at V. Frase B. 152-158. 202-206). a 4th down (m. (m. V. 248-250). mark 17-1) CounterSubject at Vlc. V.rv (m. 207-214) --. mark 19+3) Conclusion at V.I (m. V. (m.m1v (m.II (m. 185-188) --. Vlc Frase C1 (m. (m. V. mark 21) --. 159-160.rv2 (m. 189-198. 169-170. mark 17+1) m2 at V. V. 210-214). V. 226-250) --. 167-168. Vlc. 159-164.I (mark 22-2) --. 181-183). 199-202). V. 167-170.rv4 (m. mark 18-1) Stretto Subject at V. Vlc. with a 4th down (m. mark 20) Conclusion at Br. Reprise Frase A (m. 185-187). 170-176. 214-218).pv1. 199-206) --. V.r with a 4th down (m. 160-163. 187-188). 223-225).II (m.rv1 (m.b (m. (m. mark 19+3) Codetă at V. with a 4th down (m. mark 19-1) Subject at Br.I (m.ov.I (mark 25) --. mark 21-1) with role of Introduction.I (m. mark 19-1) Subject at V. 250. 170-176. 214-222) --. V. 219-222). 154-158.Subject at Br.n1 (m. 177-179). mark 17+2) Conclusion at Br. 235-237). (m. 171-176.I (m. ( (m. 179-181). V.a (m. 207-210). mark 18+1) v at Br.

I Frase A1 (m.I + V. (m. 61-67) --. Br.I Introduction --. 187) SectionA Introduction (m.I FraseAv (m. Frase A (m. 17-19) V. 70-125) SectionA1 (m.b (m.II (mark 31) --. 174-182) Coda (m. 74-75) V. 23-24) V.av3 (m. 70-73) (m. V. 250-258.p (m. 28-31) V.I 16 . 258-268.e1 (m.I Frase B (m.I --. (m. V. I --. 61-62) V.d (m.I Frase A1v (m.I --. 76-80) Vlc. Vlc..II (mark 33) --. 45-50) V. 268.. mark 36-2) V. 52-56) V.I (m. 25) V. 66-67) V. 34-42) --. mark 27-1) --.i (m.I+Vlc. 52-60) --. 9-10) V.g (m. 3-14) --.I (mark 35) --.I --. Frase A2 (m. 1-2) la (m. mark 28+9) PART II --.I (mark 34) --. 7-8) V. 160-173) SectionA2 (m. Br. 1-69) SectionB (m. 19-22) V.I (mark 30) --.f (m.I --.hv (m. 68-69. 51) Vlc. 6-7) V.I (mark 36) --. 11-14) V. 34-38) Br.pv (m.h (m. mark 28-1) --.I --. 43-44) V.I Introduction --.av (m.I (mark 29+2) --. 32-33) Vlc..av4 (m. V.i (m 39-42) Br.gv (m.l (m.a (m. 57-60) V.av1 (m.j (m.av2 (m.43-50) --.c (m.kv (m.I --. 70-82) --. 26-28) V.I V.Lied pentapartite + Coda Sinoptic Table Section A (m.I Transition (m. 63-66) V.I.Frase A --. 5) V.fv (m. 23-31) --.II.k (m. Section B Frase C ( V. 15-22) --.II Frase B1 (m.I --. (mark 32+2) --. 15-16) V. 3-4) V. 128-151) SectionB1 (m.e (m.

I. 141-147) Frase D (m. 166) Vlc. 171-173) --. Transition (m. Br.av4 (m. 93-96) Frase C2-Transition (m. V. 81-82) V. 135-140) V.. V.--. Introduction (m. mark 40-4) V. 189-) Br. 152-157. un 8th upper (m.II Section B1 Frase C5 (m. --.bv1 (m. 135-147) --.hv2 (m. 17 .II --.lv4. mark 50) --. an 8th down (m. 174-182) --.167-170) V. --. Coda (m.hv1 (m. V.I + V. Br. 178-180) Vlc. Transition (m.lv4 (m. V. Introduction (m. Section A2 Frase A1v2 (m.l. 187-188) Br.m (m.I Introduction (m..Introduction (m. 97-100.I. 117-120) V.II (mark 47) --.av5 (m.k (m. mark 47-2) V.I (mark 38) --. an 8th upper (m.I (mark 44+1) --.I. (mark 49) --. 158-159.lv3 (m. 187. 160-163) V. mark 41-5) Br. mark 46+4) V. mark 40) Br. 174-175) Vlc. 83-96) --. Frase C3 (m.I (mark 41) --. Vlc. mark 50-4) Vlc.fv2 (m. 121-125) V. mark 43) tutti Section A1 Frase A1v1 (m. --.fv3 (m.II --.kv1 (m. 183-186. 181-182) Vlc. 132-133) (m. 128-133) --. Frase C4 (m. 176-177) Vlc. 116.Introduction (m.pv1 (m. 128-129) Vlc. mark 41-2) Br. Transition (m.o (m. 126-127.lv2 (m.bv2 (m.I Introduction (m. 108-109.I Frase C1 (m. 164-165) V. 110-115) --.lv1 (m.I Frase D (m. 117-125) --. 89-92) V. --.I --.II Introduction (m.I.II an 8th upper (mark 42) to Frase C. V.I --. --. mark 42-1) Vlc. 87-88) V.kv1 (m. 101-104. (mark 43+2) --. 110-113) V. 83-86) V. 105-107. 134) tutti Frase B2 (m. 114-115) V.k.ev (m. 130-131) Vlc. 160-174) --. 148-151. 173) Br. --.. mark 46) Vlc.I.k (m.

. 71) V.c (m.I.g (m.I --.I.i (m.b1 (m.I Frase A1 (m.II --. 17-18) V. 53-54) tutti Introduction (m. 38-42) --.c (m.II Frase A (m.c (m.ev1 (m. 5-6) V.PART III --.II --.I (mark 52-5) --. (mark 54-5) --. 76-81) --.f1 (m..ev (m.II Frase A2 (m.d (m. 4-12) --.I --. Br.I Frase D (m.I Frase B (m.e1 (m. 31-32) V. V.I --. 57-64) --.I (mark 52) --. Br.b1 (m.I.a1 (m.I --.c (m. 41-42) V.ev (m.I. V. 11-12) V. 72-75) V. 1-95) Section B (m.I.I.I --. --. 27-28) tutti Introduction (m.k (m. 46-47) Br.Lied tripartite + Coda Sinoptic Table Section A (m. 25-26) tutti --. 49-50) tutti --. 19-20) V. --.a2 (m..I --. 29-30) Vlc. 61-64) V. --.I Frase E (m. Br.d (m. V.I --.a1 (m. 153-218) Coda (m. 30-38) --.I (mark 51+3) --. 43-54) --. 78-79) V. 9-10) V. 21-22) V. Br.e (m. 45-46) V.a (m. 64-75) --. 1-4) Vlc.b (m. 220) Section A Introduction (m.I (mark 55+2) --.l (m.a2 (m.j (m.c (m. 57-58) V. 33-34) V. Br.e (m. 68-70) V.a (m.a (m.c (m. 15-16) V.I.I.I --. 51-52) tutti --. 64-67) V. 7-8) V. V. 17-28) --. (mark 53+1) --. 44-45) Br. 59-60) V. 39-40) V.ev1 (m. 55-56) Frase C (m.a (m. 23-24) tutti --.e2 (m. 80-81) V. 43-44) V. 47-48) V.I (mark 54) --.f (m. Frase A3 (m. Br. 12-16) --. 76-77) V. 35-36) V. 68-70) V. 96-153) Section A1 (m. 13-14) V.j1 (m.II 18 .I (mark 57) --.h (m..I (mark 56-1) --.II --.b (m. --. 71-77) V.I --. Br. 37-38) V. Frase Bv (m. Br.e (m.

I --.d ( (m.o1 (m.I (mark 67-5) --. 158-159) V. 130-136) Vlc.f1v (m.c (m. 141-144) V. 136-140) V.I --. 154-155) V.I --. 90-91) V. Frase F1 (m. --.II --. 97-119) --.II --. Frase Fv (m. mark 65) --.nv2 (m.n (m.II Transition (m.I --.nv3 (m. a 2nd minor down (m.o (m. 88-95) --.b1 (m.a1 (m.I (mark 58) --. 171) V. 136-144) --.II --. 91) V. 174-175) tutti --.r (m. 84-85) V. 167-168) V.d (m.nv ( (m. 97-101) Br.II --. 119-125) --.Conclusion ( (m.I --. 137-141) V. 124-125) tutti Frase G (m.II --. 172-173) tutti --.c (m. 156-157) V.m (m. 82-83) V. 140-144) V. 126-136) --. 164-165) V. --. 145-153.I --.I Section A1 Frase Av.II --. 145-149) V. 105-109) Br.nv (m.n (m. 94-95) tutti Section B Frase F (m.I --. 101-104) Br.e (m.ev (m. --. 153-161) (mark 66-1) --. 83-84) V.I Frase Bv1.I --.pv (m.nv1 (m. --.I Frase A1v.I --.I (mark 64-1) --. 166-177) (mark 67) --. 119-123) Br. 162-163) V.a (m. 166-167) V. a 2nd minor down (m. 89-90) V.ev1 (m. 126-127) Vlc.I --. 88-89) V.Frase B1 (m.Conclusion (m. 82-87) --.n (m.II --. 92-93) tutti --.n1 (m.p1 (m. 176-177) tutti 19 . (mark 59+1) --.p (m.nv (m. a 2nd minor down (m.f1 (m. 116-119) Br.f (m.a (m. (mark 62-1) --. 109-113) Br.b (m. (mark 63) --. 128-129) Vlc.I (mark 57+6) --. 150-153) V. 86-87) tutti Frase C1 (m.f (m.a2 (m. 161-165) V. 85-86) V.Transition (m. 113-115) Br. 170-171) V. --. 160-161) (m.

Introduction (m.nv1 (m. 224-228) V.I (mark 73) --. 191-194) V. + Br.nv2 (m.h (m. 229-230) V.j ( (m. 195-198) V.f1 (m 214) (m. 205-206) Br. 215-218) tutti Coda Introduction (m. 220-228) --. 201-202) Vlc.g (m.I --.II (mark 70-5) --.e1 (m.I --. 184-187) V.j1 (m. --. 209-210) tutti Frase C1v (m.cv1 (m. Br. ---cv (m.I --. 191-193) V. 199-201) V. Frase Bv3 (m. 194) V. 187-199) --.II Frase Ev (m. 219-220) tutti Frase F2 (m. Codette (m. 232-233) Br.f (m.Transition (m. --. 211-212) Br. mark 73+8) 20 . --. mark 73+4) V. 203-204) Vlc. 231-232) V. 182-183) V.k (m.f1 (m. --. --. 200-204) --. 213-214) (m.f (m.f1 (m. 205-210) --.I (mark 68+2) --. 180-187) --.f (m. --. --.cv1 (m.l (m. I Frase Dv (m.e (m. Frase Bv2 (m.e2 (m.i (m.cv1 (m.. 194-199) V.nv (m. 208-209) Vlc. 230-231) Br. V. --. 206-207) Vlc. --. --. 207-208) Br.II --. 178-179) Vlc. (mark 70) --.I + Vlc.Conclusion (m.II Frase C (m. 188-190) V.cv1 (m.II + Br.II (mark 69-1) --. (mark 71) --. + Br. 229-232) --. Frase Bv4 (m. 211-218) --.I + Vlc. 220-223) V. 233-236.I (mark 72+1) --. 180-181) V. 237. 212-213) Vlc. 221-224) Vlc.nv (m.II --. 225-228) Vlc.

19-20) V.I --. (mark 83) --. Br. 38-39) --.I Frase Av (m.II (mark 76) --. 14-15) Vlc. V.bv1 (m.e ( (m. 16-18) Vlc.b (m. 1-5) --.a ( (m.gv (m.II (mark 74) --. 29-30) Vlc.14-18) Theme Bv (m. 61-64. mark 82-2) V. 68-73) --. 40-44) --. (m.I (mark 75) --. 29-33) Theme C (m. 44-47. mark 80+4) V.h (m.I Frase Av1 (m. 48-49) V. 19-28) Theme Av1 (m.. 31-33) Vlc.d (m. 1-2) Vlc.b (m. 6-13) Theme Av (m. 68-69) Br. mark 82+1) Frase Av5 (Coda) (m. V. Frase C (m. (mark 78) --. 52-56. 44-47) Theme Av3 (m. 34-37) --.. 6-13) --. V. 68-) Vlc. (mark 79-6) --. 14-18) --. 68) Frase A (m. 79) Br. 61-64) Theme Av5-Coda (m. 52-56) Theme Av4 (m. Introduction (m. 36-37) Br.I (mark 80) --. 42-44) V.II Frase Bv (m.cv2 (m. 48-52) --.. 50-52) V. --.av (m.I --. 29-33) --.I Frase Av4 (m.Conclusion (m..a (m. 26-28) V. 59-61) Vlc. 23-26) V. (mark 81) --.g (m. 73-79) Br. 20-22) V. Br.a (m. 19-28) --. 7-13) V. 70-73) Br. 34-35) Br. mark 79+4) V. Br.. 40-44) Theme B1 (m.I Cadence Vlc. 6-7) V..gv1 (m.c (m. Br. 38-39) Vlc. --.PART IV --. V. 3-5) Vlc.f (m..I Frase B2 ( (m.I (mark 77) --.II Frase B (m. --.a (m. 48-52) Theme B2 (m.I Frase Av3 (m. 57-58) Vlc. 21 . 57-61) Theme B3 (m.a ( 40-41) V.I (mark 79) --.b (m. 57-61) --. 34-37) Theme Av2 (m. 64-67. 1-5) Theme B-Cuplet (m.II Frase Av2 (m. V. Br..a (m.cv1 (m.b1 (m.Rondo Sinoptic Table Theme A-Chorus (m. Frase B3 (m.I Frase B1 (m.

57-58) V.a9 (m.I.I. 69-70) tutti Frase C (m. 81-86) V.d (m.a4 (m. 3-6) Vlc. 14-20) --.cv1 (m. --. 32-35) V.I --.b2 (m. 55-56) V.a2 (m. 21-23) Vlc. 42-43) V.II (mark 90-2) --.II --.a7 (m.Section A (m.I. --. 48-50) Vlc. 81-90) --.II Transition (m. 353) PARTITE I Section A Frase A (m. 61-63) V. 13-14) Vlc. 28-29) Vlc. --.a1v1 (m.a6 (m.c (m. 291-352) --.b4v (m. 139-195) Partite II --. V.a1v (m. 53-54) V.f1 (m.I --. --. 47-48) V. --. 51-52) Vlc. 1-138) --. 35-39) V.I --.b1v (m. Frase B (m. 71-76) V.a8 (m. 30-33) Vlc. (mark 86-1) --. 39-40) V. 1-3) Vlc. 63-69) Vlc.av (m. Frase B1 (m. 46) V. 44-45) V.a3 (m. 59-60) V.b2v (m. 42-52) --. 24-25) Vlc. 89-90) V. 61-62) Br.PART V --.I --.Form bipartite + Codă Tabel sinoptic Partite I --.b5 (m. 53-60) --.Cadence (m. Frase A1 (m. V.Conclusion ( (m.I --.I --.b5 (m. 32-42) --.II. V. 14-17) Vlc. Br.b4 (m.I (mark 88-1) --.a5 (m. Introduction (m.I. 6-7) Vlc. 86-89) V. --. V.I (mark 92) --.I. 1-14) --. 79-80) V.I Frase A3 (m.I --. 49-52) V. (mark 86+6) --.Section Bv --. 8-13) Vlc. 17-20) Vlc.I. 77-78) V. 84-90) V.b3v (m. --. 71-80) --.b1 (m.I 22 .I (mark 91) --.I Frase C1 (m.(m. V. (mark 87) --.c (m.f (m.a1 (m.I --. 61-69) --. 21-32) --.b3 (m. Frase A2 (m. (mark 85) --.II (mark 89+1) --.II --.Conclusion (m.Coda (m.e (m. --.Section B (m.a (m.e1 (m. 195-291) --. --. 26-27) Vlc.a9v (m. 41-42) V.b (m.Section Av --.a (m.

192-195) Br.I.I Frase A1v (m.k (m. 187-189) V.I Frase Bv ( (m.g1v3 (m.av (m.I. Transition (m.b2 (m. 154-163) --. --. 118-124) V.I --.I (mark 100-1) --.I --. 101-110) --. 103) V. 194-195) V.b3v (m. Br.b3v (m. 110-124) --.I --.I (mark 99) --. 183-191) --.I.a2 (m.e2 (m. 195-198) (m.cv2 (m. V.II --.Conclusion (m. (mark 98-1) --.II --. 164-165) V. 130-131) V.gv2 (m. 164-175) --.b7 (m. --.b4v (m.I.I.gv1 (m. 175) Vlc. 186) V.g1v1 (m. V.I. 192-195) --. --. 90-95) Br.j (m. 140-143) Vlc. 116-117) V. 175-177) Vlc. 130-135) --.Conclusion (m. 175-179) --. 108-111) Br. 159-161) V.I (mark 102-4) --. 154-158) V. Vlc. 175-177) V. (mark 93-1) --. 131-133) V. Frase D (m.II --. V.gv3 (m. --. V. 168-171) V. 166-167) V.I --. 182-185) Vlc.h (m. 147-150) Vlc.hv (m.I + Vlc.g (m. Frase E (m. 177-179) Vlc.l (m. 113-116) V.b4v (m.a1 (m. 90-10) --. 127-130) V.II.g1v1 (m.i (m. 23 . (mark 94-2) --. 124-130) --. --. 101-102) Br. (mark 97+1) --.g1v (m. Frase D1 (m.I. 106-107) V.II --.I (at V. Frase D2 (m.b2v (m.a3v (m. 172-175) V. 110-113) V. 96-100) Br. 161-163) V. Frase B2 (m.I (mark 96-1) --.I --. V. 190-191) V.Frase C2 (m. 151-154) Vlc. V.I --. 104-105) V.I+Vlc. 192-193) V. mark 97-3) tutti Section B Introduction (m.I.I --. 144-147) Vlc. --. 139-140) V.b6 (m. 136-138.I (mark 96+5) --. PARTITE II Section Av Frase A4 (m.a1v (m.ev (m.g1 (m. 177-179) V. V.a (m.a (m.gv (m.II Transition (m. 195-208) --.g2 (m. from begenning of the movement) (mark 95) --.I (mark 101-2) --.b1v (m. 183-185) V. 179-182) Vlc. 124-127) V.II --.I is Frase A. Frase Av (m. 133-135) Transition (m.b5 ( (m.I --. 140-154) --.

Conclusion (m.I Cadence (m. mark 108) --.a 15 (m. 208-219) --.gv4 (m. 204-208) V. mark 105) --. 201-204) V. 208-211) V.II (mark 116) --.II Frase A6 (m.I --.I.--. 327-330) V.II --.I --. --.I (mark 115) --. I + Vlc. 311-321) --. Introduction (m.bv3 (m. Frase D2v (m.I --. 270-291.II --. 246-253) Br. (mark 109-1) --.a11 (m. --. 236-244) Vlc. (Chorus from part IV) --.I (mark 103-2) --. 196-198) V. 253-260) V.m (m. 214-219) Vlc.o (m. 314) V. Br. Br.a13 (m. Frase B3 (m. 307-310) Vlc.I. V. 300-301) V. 245-253.II Frase C3 (m.I. 291-295) V.b6 (m.I --.I.a3 (m.I --. 209-211) Vlc.gv1 (m.I.f1v (m.g1v4 (m. 291-299) --. Frase B2v (m.a1 (m.a10 (m.o (m. 307-309) V. 318-321) V.I (mark 114-3) --. 311-313) V.I (mark 112) --.II (Couplet D from part IV) Frase Iv (m. 219-220) V.I (mark 111-1) --. Section Bv Frase D1v (m. 235-244) --.II (mark 104+2) --. 307-311) --.r (Theme III from part I) (m.n (m. V.II. 330) V.b2v (m. V. 198-201) V. 298-299) V. 253-260. 219-226) Vlc.a14 (m. V. 235-244) Br. 300-307) --.a3 (m. 309-311) V. V. 315-317) V. 211-214) V. 201-202) Vlc. Frase I (m.I. --. 225-226) V.I --. Frase Ev (m.ev1 (m. --.I (mark 113-1) --. V.I Introduction (m.p (m. 295-297) V.b5 (m.a (m. (mark 102-1) 24 . Frase G (m. --.j (m.II. 322-327) V. 221-226) --.I.a2 (m. 260-265) Vlc.I --.i (m.I Frase A5 (m. 307) Vlc.a2 (m.h (m.lv1 (m.b7 (m. V. 260-265) --.a12 (m. mark 107) --. 246-253) Vlc. 203-209) Vlc. 304-307) V. 227-234.a12 (m.k (m. 221-224) V. 310-313) Vlc. 227-234) Vlc.a1 (m.a11 (m. Frase H (m.I + V. 214-219) V. 331-342) --.bv4 (m.I --. 322-330) --. --.gv3 (m. 302-303) V. (mark 106) --. 263-268) V. 198-201) Vlc.I.pv (m. Frase B4 (m. mark 110) Vlc. V.n (m. 334-342) Vlc.I --. --. 331-334) V.g1v2 (m.a10 (m. 211-214) Vlc.

363-367. mark 119) V.I Conclusion (m. 346-352. 368-374. mark 118+1) V.I Frase A8 (m. mark 118+5) V. mark 118-7) V.I Coda (mark 118) Frase Av2 (m. 358-362. 375. mark 118+10) V. mark 119-7) V.Frase A7 (m.I Frase Av4 (m. mark 117) V.I 25 . 342-346.I Frase Av5 (m.I Frase Av3 (m. 354-357.

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