Dictee Armonice Si Polifonice

Renaştere
5
1 TH. MORLEY
Shoued for a Grief and Anguish
    

         
 
   

        
      


             

   
          
2 J.P. SWEELINCK
Voici de gai printemps
           
 

    
 
                    
 
    
              
              

    
                
        
    
G.P. PALESTRINA
3 Op. Complete vol. XVII
Sanctus
            
 
                           

6
G.P. PALESTRINA
4 Op. Complete vol. VI
Missa: De feria
Credo
                 
    
    
     
 
G.P. PALESTRINA
5 Op. Complete vol. VI
Missa: De feria
       
Credo
     
        
            
 
                  
 
6 DOMENICO M. MELLI

La mia dolce pastorella

                    
     

  
    
    
  

        


     

     
   
7 G.P. PALESTRINA
Op. Complete vol. XXII
Credo
      
     
 
          


               
 

   
     
7
8 G.P. PALESTRINA
Op. Complete vol. XXIV
   
Missa: Dum Complerentum
   
Benedictus
               
            
     
9
CH. de MANTIUS
       
 
Tympanum militare
                

                
   
               
          
   
  
            
               
 
10 O. LASSUS
Motet nr. 4
               
  
   
              
    
                       
  
        
             
8
11 O. LASSUS
Motet nr. 13
      
    

     
       
 
        
    
    
             
               
       
    
 
  
                             
   
        
12 O. LASSUS
Motet nr. 3

          


 
        
    
       
        
       
                   
                
   
   
              
 

9
13 G.P. PALESTRINA
Op. Complete vol. III
Moctetam festorum
         
8. Jesus junxit se
       
        
G.P. PALESTRINA
14 Op. Complete vol. III
Motectam festorum
  
8. Jesus junxit se
      
       
        
          
  
                 

15 CLAUDE le JEUNE
Ma mignone
                  
   
           
      
   
      
      
               
           

              
10
16 JOSQUIN des PRES
Per illud ave
               
     
                
    
           
          

   
             
          
 
                 

17 G.P. PALESTRINA
Missa: Qven dicut homones
     
Credo
         
 
 
          
           
              


          

11
18 G.P. PALESTRINA
Missa: Qven dicut homones
      
Credo
  
    
 
         
    
                
       
 
        

G.P. PALESTRINA
19 Op. Complete vol.XIV

Missa: Hymni totius anni
 
Credo
         

            

 
      
            
              

      

12
G.P. PALESTRINA
20 Op. Complete vol.VI
Missa: De feria
 
Benedictus
        
           
      
   
 
         

                
          
  
G.P. PALESTRINA
21 Op. Complete vol.XIV
Missa: O admirabile comercium
    
      
Beneditcus

       
     
               
   
         
 
      
13
22 G.P. PALESTRINA
Op. Complete vol.I

Missa: Virtute magnus
        
 
Credo

                

     
                

 
               
          
 
G.P. PALESTRINA
23 Op. Complete vol.I
             
Missa: Ecce sacerdos magnus

   
Credo
 
          
       
   
            
       
 

       
           
14
CLAUDE LE JEUNE
24 Coruri pe voci egale
Violete mici gingaşe
              

    
 
 
    

          
            
   
         
           

         
         
        
    
25
WILLIAM BYRD
            
The Nightingale
     

             
 

       

 
         
   

            

         
    
 
           
   
       

        

15
G.P. PALESTRINA
26 Op. Complete vol. XVIII
Moctetam festorum
    
Benedicta sit
    
    
        
     

         
  
      
  
     
          
  
27 G.P. PALESTRINA
Op. Complete vol. XXIII
Missa: In minoribus duplicibus
    
Credo
      
    

       
     
   
     
   
     
             
            
 
28 G.P. PALESTRINA
   
Missa: Epiendemus
   
Benedictus

  

   

   
 

     
         
         
 
     

  
             
 
16
29 G.P. PALESTRINA
Op. Complete vol. VI

Missa: Primiton
        
Gloria
                 
 
          
  
                
         
     
30 G.P. PALESTRINA
Op. Complete vol.I
       
Missa: O regem coeli
     
Credo

                   


             
     
                     
     
             

31 G.P. PALESTRINA
Missa: Sacrdos et Pontifex
  
   
Sanctus


            
               
  
 
                 
      
    
17
32 G.P. PALESTRINA
    
Op. Complete vol.III
Tribus miraculis
        
    

     
      
             
   


                
  
       
 
33
ADRIANO BANCHIERI

Tre villanelle vezzose e belle
                                  
 
                                 
                   
         
  
34
GIVANNE DA NOLA
   
Tre ciechi siamo

             
                
                                
   
             
           
          
  
                               

                             

     

                     
        
18
35 JAKOB REGNART
Coruri pe voci egale
        
 Pribeagul
               
   
 

                    
   
36 ORAZIO VECCHI
Coruri pe voci egale
Pasăre albă
           
                     
  
      
               
37
CLEMENS NON PAPA

Es giel
                    
   
          
          
        
    
38
WILLIAM BYRD
     
     
Gigue
       
     
           
 

 
   
  
      
     
 
                     
 
           
   
             
         
 
   
                  
   
   


 

             

  
     

         

19
39
                  
WILLIAM BYRD
 
Allemande

             

  
        
         
        
   
   
40
       
BALDASSARE DONATI
 
Canzonetta
      
        
   
    
        


             
 

   
             
        
   
             
  
    

   
 
  
41
O. LASSUS
De-ar fi să-ţi spun
     
          
 
           
         
  
        
           
  

         
   
           
      
                    
  
       

        
             
 
20
GISEPPE O. PITONI
42 Laudate dominum
 

 

                   
             
               
 
      
            
           
           
 
 
43
ORAZIO VECHIO
           
Que andomirai
       
       
            
    

      
   
     
  
   
 

            
      
 

 

        
          
  
    
1. 2.
        

     
 
  
        
21
Baroc
22
44
G. FRESCOBALDI
                        

Fugă
  
 

               
45
     
D. BUXTEHUDE
    
Fugă
  
       
       
            
    

  

46
J.S. BACH
W.K. II Fuga I
                   
               
   

                       
47
D. SCARLATTI
 
           
Sonata pentru pian

   
     
            
    
 
48
G. MAYERBEER
          
Canon
          

    
 
        
 
         

  
   
      
23
49 J.S. BACH
Suita engleză
          
 
Courante
   
           
      

                  
   
   
        

                 
       
50
D. SCARLATTI
 
Allegro
 
             
Sonata pt pian nr.46

        
        
          


                             
  
       
          
    
                            

     

        
           
   
                     
           
 
      
             
  
          
           
   
               
       
 
24
51 G. FR. HAENDEL
Juda Macabeul
                
        
           
              
 
52 J. S. BACH
W.K. II Fuga XV
        
                
  
                 
 
                    
                 
     
   
                   
    
53 J.S. BACH
                      
Fuga II pentru orgă
  

         
          
 

                           

  
                           
    

                
  
25
54 J.S. BACH
Fuga III pentru orgă

                     



                    

 
                 
55 D. BUXTEHUDE
Fugă

                               
            
 
56 D. BUXTEHUDE
Canon
              
 
    
   
                    
  
57
L. VAN BEETHOVEN

Sonata pentru pian
       


                      


                       
                
  

58 D. SCARLATTI
     
Allegro Sonata pentru pian, nr.43
    
  
     
    

    
  
           

    
     
       

        

             
  
    
26
59 J.S. BACH
Suita engleză IV
 
     
Menuet II
         
                      

             
1. 2.
   
             
 
   
    

60 FR. DURANTE
Cor pe voci egale
             
Dormono l'aure estive
   
                     
                 
    
                           


61 J.S. BACH
Molto vivace Suita engleză V
  
                             
Gigue
  
  
           
                       


            
         


  
27
62 J.S. BACH
                             
Allegrissimo ( h = 58) Suita franceză III
Menuet
   
         
     
  
                
            

     
      
  

                             
   
    
             

63 J. Ph. RAMEAU
Piese pentru clavecin
                   
La marais-rondement
   
       
          
  
                              
     
     
           


 
     
64 D. SCARLATTI
Sonata pntru pian
Allegrissimo
       
Nr. 60
         
            
 
                      
    

      
                                   
                  
    
28
65 J.S. BACH
           
Molto vivace (q = 84) Suita franceză III
 
     
Gigue
 
      
           

                            
  
 
          
      
    
     
     
                   
     
66 J.S. BACH
Suita engleză III
Vivace ( h = 116)
         
Gavotte I
         
  
              
         

                  
      


 
  
          
  
67
J.S. BACH

   
W. K. II Fuga XXI
     

                  
        
          
                   

                   


29
68
A. VIVALDI - J.S. BACH
 
                           
Concert
     
          
69 G.F. HAENDEL
Suita în Sol
         
        
Gigue

      
      
   
      
      
     

     
          
 
    
   
              
        

   
J.S. BACH
70 Fuga II
pentru orgă
                                   
 

     
                        
                
 
 
         

                               


         
   
 
               
     

                                 
  
30
71 D. SCARLATTI
Sonata pentru pian
    
Allegro ( q = 89)

Nr. 60
  
               
    
      
    
       
  
 
             
    
                    
     
72
J.S. BACH
     
         
Suita engleză I
        

     
73
J.S. BACH
                    
W.K. I Fuga în Mib
    
                      

74 J.S. BACH
Suita engleză I
Allargamente ( q = 88 )
        
 
Boureé I
 
    
 

           
   
                             
   
 
             
    

31
75 J.S. BACH
Suita franceză II
  
Allegro vivace (h. = 76)
          
Menuet I

          
     
           

          
       
    
      
 
76 J.S. BACH
Suita franceză II
 
Vivace (h. = 84)
      
Courante
    
              

      
       
  
   
            
      
  
   
          
         
                    
      
           

77 J.S. BACH
Suita franceză II
Tranquillo (h. = 66)
                  
Menuet II

         
   
        
    

  
                
  
       


   
32
78
   
J.S. BACH
Suita franceză II
         
Allegretto (q = 104)
          
Air

    
    
        
 
     
   
               
 
    
79 GRAUN
 
   
Fuga
      

                       
  
         
        
 
              

80 J.S. BACH
Suita franceză VI
  
Allegrissmo (q = 104)
         

Gigue
          
 
          
        
     
                      
          

         

33
81 J.S. BACH
Toccata pentru pian
            
    
      
   
         
 
   
           
 
            
 
82 J.S. BACH
Suita franceză VI
      
Allegretto, con tenerezza (q = 106)
  
Polonaise
             

               
          

         

      
             
         

83 J.S. BACH
Suita franceză VI
     

Molto allegro (h = 138)
  
Polonaise
      
   
                         

                            
    
            
    
                          

 
                     

34
84 G. FRESCOBALDI
Fuga
               
      
   
          
  
      

             
 
85 G. FRESCOBALDI
Canon


       
           
            
         
        
  
86 H. PURCELL
Piese pentru pian
            
Riguadon
      

           
     
            
               
  
  
                 
  
  
       
  
 
        
       
     
 
35
87 J.S. BACH
WK II -Fuga Do

                             
  


                      
 
   
      


  
    
                 
    
   
               
88
                
J.S. BACH
Fuga VII pentru orgă
  
                  

                   
 
 

 
                 

     
   
 

   
 
   
     

   
 
       
  
  
 
             
     
     
    
       

89 H. PURCELL
Piese pentru pian
                
 
    
nr. 1

              

  
       
36
90 J.S. BACH
Fuga V pentru orgă
   
    
       
               
     
    
 


     
       
       
     
 
     
   
  


   
                     
   
 

    
    
91 D. SCARLATTI
Sonata pentru pian
           
nr. 54

   

               
   

           
    
   
     
          
   

92 D. SCARLATTI
Sonata pt. pian

                   
nr. 16
         
    
                  
          
                   

  
       
      
    
     

                

  
    
 

      
  
 


  
37
93 J.S. BACH
Fuga V pentru orgă
       

                
 
                             
          
     

 
                               
             
94 J. PH. RAMEAU
Piese pentru clavecin
            
      
La cupis
        
        
    



                   

       
  
95
J.S. BACH
W.K. I, Fuga nr. 6
                             


           
    
     
                          
        
             
 

38
96 G.F. HAENDEL
Suita în Sol
Lento Sarabanda
      
                 
        

    
  
 
          
                      
           
 
 
  
 
            
             
  
             
   
          
 
     
        
       
    
 
97 J.S. BACH
                      
Orgelwerke
   
Canzona nr. 10
               
      
              

             
    
 
    
     
  
            
 
            
     
39
98 J.S. BACH
  
Concert nr. 7 pt. orgă
   
Moderato
                  
Fuga
 
         
                  
                     
    

                       
      
                        

     
99 H. PURCELL
Piese pentru pian
           
nr. 7 Menuet
              
        
                  
  
  
           
      
       
         
            
       
100 J.S. BACH

Oratoriu de Crăciun
Chor nr. 24
          
  

         
     
 
40
    
 
        

    

       
       
                          
 
           
  

          
 

101 J.S. BACH
Suita franceză III
                   
Anglaise
      
           
            

                   
  
           
         
102 J.S. BACH
W.K. II, Fuga XXI
          
                           
 
        
               
 

       
  
      
                      
                
                
 
41
103 G.F. HAENDEL
Suita în sol
    
        
 
Sarabanda

         

  

            
         
          
 
  
             


             

      

      
104 J.S. BACH
                
Fuga VI pentru orgă
  
              
            
              
             
   
   


             
             
 
   
     
                  
    
105 J.S. BACH

W.K I, Preludiu în sol
                   
                
      
    

       
 
  
                

       
          
 
42
106 J.S. BACH

Fuga XVI
          
   
      
  
                      
 
                  
        
     
                     
     
 
               
            
     
107
J.S. BACH
              
Fuga pentru orgă
     
           
                       

                    
   
 
 
                              



             
  
                    
         
      
                   
         
   
        
 
 
43
108 J.S. BACH
Suita franceză VI
Vivace (h. = 60) Menuet
    
           
      
            
  
                 
    
 
             

109 D. SCARLATTI
Arie
               
              

                  
           
 
J.S. BACH
110 Choral
  
Ach Gott und Herr
                  
   
                  
             
     
    
  

      
            
   
     
         
             
  

J.S. BACH
111 Choral
 
Puer natus in Bethlehem
               
       
                   
               

   
   
     
          
   
                
       
     
 
44
112 J.S. BACH
Choral


Ach , was soll ich Sünder machen
     
                    
  
           
             
        
       
 
 
  
      


  
   

   

       
          
      
        
 
    
             

             
           
     
 
J.S. BACH
113 Choral

Herr, nun las in Friede

              
   
       
         
       


 
             
      
              
                     
 
 
   
       
 

      

              
              
   

45
114 J.S. BACH
Choral
 
Christus ist mein Leben
                  
       
  
       
             
  
         

     
 
 
         

 


              
       

     
  
115 J.S. BACH
Choral

  
Ich dank' dir schon durch deinen Sohn

                  
               
 
                     
  



  
   
                    
    

    



       
                
 


              
  
116 J.S. BACH

Choral
  In Himmelreich
 
            
        
     

                   
            
   

 
       
              
      


   
                     
    
 
46
 
             
    
   
          
             
       
 
117 J.S. BACH
Choral


Herzlich thuh mich verlangen
    
                       
 

                           
  
   
     

 
         
                        
         
                     
    
 
          
 
  
118 J.S. BACH

Choral


 Auf meinem lieben Gott
         
                
           
            
         
 
 
            
        
          
   
                   
   
  
 
 
  
       
     
    
     
         
  
    
 

47
119 J.S. BACH
Choral
 

Herr Jesu Christ
        
        
               
       

      


  
         
      
     
                 
   

        

 
120 J.S. BACH
Choral
 
O Bangigkeit un Zagen
 
       
            

                    
            
 
   

   
             
       
 
         
  
   
    
  

  
   
    

 
          


      
             
  
    
     

  

121 J.S. BACH
Choral
    
Night so Traurig, nicht so sehr
   
             
    


  
             
          

  
  


    
   
     
     

     
    
               

   

48
Clasicism
49
L. van BEETHOVEN
Allegro con brio 122 Concert pentru pian
         
op. 15, nr. 1, p. I
        

     
                  
           
     
                        
                    
    
         
               
                  
  
        
          
123 A. DIABELLI
Sonatina pentru pian
Allegro moderato
op. 168, nr. 2

       

          

       
                         

     
   
  

                           

50
M. CLEMENTI
124 Sonatina pentru pian
Un poco adagio
      
op. 36, nr. 3
     
     
    
              
  


               
            
  
   
    

 
 
         
     
    

             
  
     
            
       
    
         
  
J. HAYDN
125 Sonata pentru pian
          
Sol, Rondo
Presto
     
             
    

            
 
        
   
  
       
            
         
          
  
           

               
                 


   

     
          
  
51
126 L. van BEETHOVEN
Sonata pentru pian

Allegro ma non troppo (h = 80)


op. 49, nr. 2, p. I
         
            
  


3
   
3
      
3

3
     
 
        

     
 

          




     

             
     
    
         
   
   
J. HAYDN
 
       
Mi, p. III
      
Molto vivace
     
  
   

                              
           

     
    
               
      
   
                         
            
   
     
   

     
 
        
   
    
        
 
             

                         
  
52
Sonata pentru pian
        
op. 14, nr. 2
 
           

              
      
             
          

                       

 
           
   
     
   
              
         
129 W. A. MOZART
Sonata pentru pian în Fa

Rondo
              

 
        
        
130
   
FR. KUHLAU
Vivace assai
   op. 55
                

 
                           
  


   
                   
      
 
                
   
            
      
         
     
           
                 
53
131 J. HAYDN
6 Divertismente pentru pian
             
Trio
 
nr. 3
                    
    
              
 
               
         
  
3 3 3
             
3
    
   
 
                
     
    
    
          

       
        3
      

      
        

132 W.A.MOZART
Trio IV op. 11, p III, var. II

         
(vioară, violoncel)

    
            
       
  
    
       
                 
  
           
      
    
         

 
54
133 W.A.MOZART
                    
Sonata pentru pian
 K. 136 Rondo
 
  
               

       
 
          
 
 


                       
      
  

    
Sonata pentru pian
 
Allegro op. 49, nr. 1, Rondo
           

      
 
                      
        

 

                 
      
                     
  


  

    
     
   
   
                
       

  
  
             
       
     
       

        
55
Sonata pentru pian

op. 106, p. II, Fuga
               
     

        
                         

                             
  
       
         
      



   

                   

      

                              
 
        
      
 

            
                 
        
     

136 J. HAYDN
   
    
        
Simfonia XV
         
       
         
   
 
 
            
 
 
     
              
56
Sonata pentru pian
   
         
op. 109, p. II, Var. III
      
Allegro vivace (h = 69)
        
 
                 
 
             
          
    
                    

  
                          
    
   
                
    
   
    

                      
  
138 W.A.MOZART
Quartet K 499, nr 7, p. I
 
(vioara I, vioara II)


      
  
    
                           
            
         

                   
         

               

    
                              
  
  

 
      

  
                        
57
139
L. van BEETHOVEN
 
Cvartet op. 131
        
 
  
             

 
  

 
      
140 W.A.MOZART
             
Sonata pt. vioară şi pian

Adagio
           
Mib, p II

  
        

           
 
         
           
         
     
    
     
141 A. DIABELLI
Andante sostenuto op. 168, nr. 2
 
               
 
         
  
    
           

           
  
58
W.A.MOZART
142 Sonatină pt pian, nr. 6,
   
Menuetto

      
Allegro
           


        
          
  
                          


   
      
        
   
                         
  
   
            
        
143 W.A.MOZART
Missa încoronării
  
Chor: Et vitam neturi saeculi

          
            
                                
  
  
  
  
  
         
 
  
 
                      
  
 
     
       
  
      
           
              
59
Sonata pentru pian
       
Vivace op. 79, p. a III-a
          
           
      
   
 
       
   
 
 
      
         
 
    
      
      
    

                  
   
 
 
       
145 W.A.MOZART
  
Sonata pentru vioară şi pian
Allegretto Sib, p a III-a
                            
 
    
                     
       

     
                             
 
 
       
    
        
            
     

Sonata pentru pian
    
op. 49, nr. 1, Rondo
                     
      
    
         
           
 


     
                      
        
  
     
         

  
         

60
L. van BEETHOVEN
147

Sonata pentru pian
                

op. 110, p. a II-a, Fuga
   

      

   
   
            

  
          
       


  
      
148 W.A.MOZART
    
Sonata pentru vioară şi pian

Tempo di minuetto (q= 132)
               
mi, p a II-a
  
 
    
  
  
     
    

                     


           
     
    
         
    
          
    
 
 
149 J. HAYDN
                  
Sonata pentru pian
Tempo di minuetto Fa, Menuetto
   
                  

            
   
 
   
          

        
           
61
150 J. HAYDN
     
Sonata pentru pian
Fa, Finale
 
Presto
    
  

              

       
       
           
151 W.A.MOZART
Sonata pentru pian
 
Allegro KV 332, p I
             
           
                

       
                    
   
     
    
       
          
                        


   

             
            
  
            
  
Sonata pentru pian
Presto (q =160) op. 10, nr.2, p. a III-a

           
       
       
                              
 
     
      
         
         
      
 
          
                    
           
62
153
    
W.A.MOZART
  
Rondo pentru pian în Re
       
     

                                  
                   
    

      

                      
 
L. van BEETHOVEN
op. 109, p. 1
     
                 
    
 
               

        
   
    
          
  
     
       
        
           
Sonata pentru pian
Andante con espressione op. 109, p. I
        

                
       
                
 
           

 
                  
     
 
                    
  
 
   
63
156 W.A.MOZART
Concert pentru pian La
              
  
pI

         

      

     
  

    
     

     
         
        
   
    
 
    
157 W.A.MOZART
Sonata pentru pian
                   
Allegro assai
  
KV 437, p a III-a

  
    
        
    
   

 

                     

     
   
   
  
      
     
 

Sonata pentru pian
Allegro (q = 76) op. 7, nr.4, p. I
       
    
   
                  
 
                 
     
        
 
  
 

     
            
     


 
    
   
  
 

64
159 J. HAYDN
       
Sonata pentru pian Re,
          
Menuetto
        
  
  
             
       
                            
  
 

    

             

 
                        

      
             
       
                
 
         
            
    
160 W.A.MOZART
                     
Concert pentru pian La, p. a II-a
       
          
        
          
   


       
 
   
                

  
    

 
     
    

   
  
  
   
         
  
    
 
   
      
       


   
   
65
161 J. HAYDN

Sonata pentru pian Mi,
  
Finale
  
Tempo di menuetto
           
 
     
            
  
            
        

   
           

   
 
162 W.A.MOZART
Missa încoronării
                   

Chor: Et vitam neturi saeculi
     
         
  
            
            
    
  
      
           
 
   
   
        

              


Concert pentru pian, op. 15, nr. 1
Allegro Rondo

  
    
 
   
 
      
  

   
    
       
                

   

    
   
 
       
         
     
  
    
  
             
     
   

66
               
              
   
  
          
    
       
   
L. van BEETHOVEN
Missa în Do, op. 86
164

Chor: Cum sancto
       
   
              
     
              

              
                       
          
     
          
         
   
   

Sonata pentru pian
 
Allegro op. 49, nr.1, Rondo

                             
    
  
 
  
       
              
       
     
               
                  
      
    
  
             
 

    
       
 
      
 
         

                 
           

     
                       
        
   
67
L. van BEETHOVEN
Adagio ( q = 50) op. 2, nr.1, p. a II-a
  
                    

     

     

         
 
       
  
           
        

        
    

  


Sonata pentru pian
     
Allegro (h = 76) op. 10, nr.3, Menuetto

              
  
     



           


    
   

            
             
   
      
 
     
  
  
  
     
168 W.A.MOZART
Sonata pentru pian
        
Andante grazioso KV 331, p I
                
       
                 
     

 
          
 
    
          
       
       
  
    
  
   
   
                 
 
      
               
    


       
 
    
            
68
       
          
  
     

     
       
           
        
 
169 W.A.MOZART
Requiem
     
  
Chor: Hostias
        
     


             
    

     

  
           
   
 

     
    

  

  

L. van BEETHOVEN
op. 10, nr.1, p. I
     

Allegro molto e con brio (q = 72)

                  
       

  
    
 

 
                 

           


  

   

   
    
 
 
  



Trio op. 70
Allegretto Pian
   
          
  
 

       
     


     



 
  
   
 
      
     
69
Romantism
70
172
R. SCHUMANN
   
In mutern tempo (q = 80)

Der Rose pilgerfahrt
   
    

          
                     
 
 
  
    
 
              
   

          
          
   
            
  
   
   
f p
           

     
   
 
           
       
    
 
 
           
            
 
173 G. PUCCINI
Messa di gloria
In mutern tempo (q = 80) Gloria (Sopran - Alt; Tenor-Bas)
   
                       
p

        
         
     
         
 
           
   
               
 
     
   
71
174 R. SCHUMANN
Album pentru tineret
Melodie

Moderato (q = 116)
   
         
        

     
                 
  
                            
 
           
         
       

    
175
OFFENBACH
                   
     
Die schöne Helen
           
                        


  
   
     
           
 
               
     
                       
 
176 R. SCHUMANN
Cântec de leagăn
    
Molto semplice
 
       

               
    
       
    

   

    
          
  
    


         
         


   
    

72
H. BERLIOZ
177 Requiem
  
                        
Andante ma non troppo molto op. 5 nr. 6

   
(sopran, tenor)
      
          
  
    

                     
 
                        
   

 
            
            
    
          
  
   
    
178
  
R. SCHUMANN
          
Fluturi
   
 
                 


            
       
        
179 R. SCHUMANN
Piesă
     
                   
 
 
  
        
  
      
   
 
 
              
  
   
     
        
     
73
180 F. MENDELSSOHN-BARTHOLDY
Moderato Piesă
            
                   
  
                   
 
FR. LISZT
181
       
Zongoramuvek 1846
       
nr. 5, Pater noster
           
Andante
    
 
        
    
    

      
                
    
     
   
      
                 
 
             
            
     
           
   
G. PUCCINI
182 Messa di Gloria
Chor: Sanctus
      
3
 
  


  
    

   
        
   
  
            
3 3
       

   3
  
3     
 
3
           
     
3
74

    
   
    
   
    
  
         
        
      
       
    
 
   
     
     
 
  
     
          
3 3
 3          
   3  
3
    
            
3 3
183 A. SKRJABIN
  
Allegretto (q =138)

Preludiu
    
          
op. 11 nr. 2
     
 



  
         
       
  
 
 
                     

        
    
   
    
    

  
        
    
 


     
             

75
        
Piesă pt. copii

Allegro non troppo
  
 
   
op.72 nr. 1
     
 


       
      




 
   

 
  


         
  
               

    
 
185 R. SCHUMANN
Scene pentru copii op. 15
             
Der dichter spricht
  
           
       
                  
         

              
           

 
  
               

   
186 FR. CHOPIN

Balada pentru pian
  
Fa, op. 33
 
Andantino
             



           
            
  


       
                    
       
     

       
    
        
 
   

  
   
            
   
  
          
   
76
187 A. BORODINE
Mica suită pentru pian
Tempo di menuetto Intermezzo
                                     
3 3 3
     
          
        
                   
3
  
     
          
   
    
 
         

3
          
3
                
 
R. SCHUMANN
188 Album pentru tineret
Fuga
 
Vioi
           


             
           
         
  
     
   

 
   
                  
                      
  
    
                    
  
           
       
   
              
     
                      
     
 
77
189 J. BRAHMS
În codru op. 62, nr. 3
Etwas langsam cor mixt
      
       
   
           
            
                    
       

        

      
    

  
          
        
    
        
           
    
190 FR. LISZT

Ave Maria
Andante

     
cor mixt
   

        
   
      
         
 
     

                


   

               
       
191 J. BRAHMS
Fugă cu variaţiuni pentru pian
op. 24, Aria
                             
  
    
 
    

   
     
  
           
     
  
     
      

                     
      
          
        
78
192 P.I. CEAIKOVSKI
 
Piesă pentru pian
   
Allegretto con moto e molto rubato op. 37, nr 4

  
     

 

 
   
                         
                
  
     
          
     
            
          
           
     
    
Trauergesang
   
Andante
      
   
     
cor mixt
           
    

                    
  
     
     
    

   
              
         
                    
              
 
            
 

        
  
               
 


   
      

                     
     
  

             
     
    
79
194 FR. CHOPIN
 
Nocturnă
Lento religioso op. 15, nr 3

     
        



     
  
    
         
 
    

           
      
    
            

   

            
A. SKRIABIN
195 Preludiu
Lento (q = 76) op. 11 nr. 22
  
   
                   
    
                   
 
 
                      
         
    
          
196
FR. SCHUBERT
         
        
Cântec de mai
       
      


  
    
 

        
            
  
                     

       

  

     

          
   
       
   
      
   
     
 
           
       
80
H. BERLIOZ
197 Requiem
op. 5 nr. 3

Andante sostenuto
  
                       
Quaerens me (chor)
      
                     
   
                      
    
   
         
      
               
 
198 J. BRAHMS
Variaţiuni pentru pian
   

op. 9, Tema
            
      
           
   
   
 
        
     
       
     
   

          

    
        
           
                
 
      

   
          
           
     

 
   
      
 
      


  
Rămas bun codrului

Andante non tanto

cor mixt
           
 
    
   
 

     
    

        
    
   
       
     
 


     
   

    
   
81
200 E. GRIEG
Cântec pentru pian
 
Molto andante e semplice
           

   
       
  
                       

   

             
     
 

 
 
    
            
  
 
                
     

                  

   
201 FR. SCHUBERT
Sonata pentru pian, Do
Molto andante e semplice Menueto
         
               
          
           
        
      
        
         
         
            
  

202 G. GERSHWIN
Concert pentru pian
Poco meno mosso (q = 104)
 
                    
Fa, p. I
   
   
                   
                      

 

      
             
     
          
3
               
   
82
203
G. VERDI
       
Lo stesso movimento (q = 66)
   
Otello

     

  
  
  

   
         
  

      
 
83
Muzică
contemporană
84
204 D. SOSTAKOVICI
        
Allegretto (q = 116) Fuga II op. 87
  
                
    
       
      
     
              
   
             
        
       

205 B. BARTÓK
Mikrokozmosz III
Allegro moderato (q = 112) Variationen

             
    
   
    
         

          
     
 
           
 
B. BARTÓK
206 Mikrokozmosz IV
Andante (e = 134) Auf der insel Bali
        
        
 

      
        

  
             

   
      
      
       
      
 
 
     
      
 
85
207 B. BARTÓK
Mikrokozmosz IV
Vivace (h_e = 80) Ritm bulgar (2)
                  

   

 

   
                   

     

   
208 B. BARTÓK
Mikrokozmosz III
 
Ritm bulgar (3)
             
     
     
      
  


                    
       
    
 
  
  
   
209 B. BARTÓK
Mikrokozmosz IV
Dorfjux
       
5

                   

5
  
  
                 
       
    
  
      
     
    
       
        
        
       
            

5
        
  
      
86
210 P. HINDEMITH
Ludus tonalis
Vivace (q = 144) Fuga quinta in E
 
                           
  
          
               
  
  
   

                     
      
211 B. BARTÓK
             
Mikrokozmosz III
Non troppo lento (q = 76)
 
Irrfart
    
     

                 
   

               
  
           
   
     

                     
                  
   
212 D. SOSTAKOVICI
   
Cvartet de coarde nr 3, op 73

Moderato con moto (q = 138)

p. a II- a
  
           
    
  
               
f f


              
       


 
5
   5    

 

             

       

       
    
          
87
213 B. BARTÓK
Mikrokozmosz III
Lento (q = 76) Durr und moll
 
    
                            
      
    
  

 

   
 
   
                         
  
                    


   
214 B. BARTÓK
Mikrokozmosz III
Lento (q = 72) Invenţiune cromatică
       
                

                

 
               
         

           
  
 
     
  
               
    

       
           
    
215 P. HINDEMITH
Ludus Tonali
   
 
Allegretto moderato, grazioso (q = 72) Fuga decima in Do


              
 

     
   
             
             
 
 

 

      
88
216 B. BARTÓK
Mikrokozmosz IV
Allegretoo (q = 126-130) Bourrée

              
        
             
     
          
  
     
       
           
         
              

  
                     
  
217 D. SOSTAKOVICI
Fuga XXIII, op. 87
      
               

     
    
     
  
          
 
         
                
                
                     
          
 
89
218 D. SOSTAKOVICI
    
Fuga XIX, op. 87
       

       
                           

    
       
            
  

  
 
  
               
219 B. BARTÓK
Mikrokozmosz III
     
Moderato piacevole (q = 72) Hommage a la Schumann
       
         
   

                             
   
                  
 

     
                


220 D. SOSTAKOVICI
    
Fuga IX, op. 87
 
Allegro (q = 128)
      
             
      
    
  
 
  
                            

                        
     
       
                         
    
         
            
   
       
  
90
221 D. SOSTAKOVICI
         
Allegretto (q = 116) Fuga XII, op. 87
                  
         
p dolce
      
                    
 
            

             
      
    
                       


                    
  
                 
   

                                         

222 D. SOSTAKOVICI
Moderato con moto (q = 116) Fuga XVIII, op. 87
              
      

            
  
                


                   
                  
          
 
            


  
91
223 HANNS EISLER
Sonatina pentru pian,
Andante op. 44, p. I
     
           
 
  
  


p
           
     
    
            
  
         
         

  
            
  

  

        

   
 
224 P. HINDEMITH
Ludus tonalis
      
Lento (q = 66) Fuga prima in C
  
    

  
            
               


      
             
         
 
  
          
   
225 P. HINDEMITH
Ludus tonalis
 
Andante (q = 96) Fuga tertia in F
      
             
             
           
    
              
     
                         
       
      
   
   
  
92

               
         
   
        
226 P. HINDEMITH
Ludus tonalis
Fuga secunda in G

Allegro (e = 200)
  
          
    

           
            
     
    
          
            


  
            
   

227 D. SOSTAKOVICI
              
Allegro molto (q = 126) Fuga III, op. 87
          
             

 f f
 
        
  
       
 
                   
    
      
            
      
    
 
   


   
        
    
    
     
 f
    
              
    
   
     
               
       

 
  
  


           
       
  

93
228 D. SOSTAKOVICI
Fuga XXIV, op. 87
   
Moderato (q = 92)
             
     
pp tenuto
   
          
 
       
               
 
tenuto
         
        
  
        
          
          
 tenuto 
       
             
       
         

229 D. SOSTAKOVICI
Fuga XXI, op. 87
                  
Allegro ma non troppo (h. = 80)

         

        
p
             
    
    
                  
    
p 
                
      
   
p
 
     
               
  
           
    
                      
  
 

 
          

         
     
     
94
230 D. SOSTAKOVICI
Moderato (q = 120) Fuga XXII, op. 87

       
   
   
     
         
legato sempre
     
pp

 
               
 
   
   
         

               
                  
      



 

pp
     
      
231 D. SOSTAKOVICI
Fuga XIII, op. 87
  
Adagio (q = 72)
      
         
  
       
pp legato sempre
    
        

 
     

             
    
            
     
   

P. HINDEMITH
232 Ludus tonalis
  
Fuga tertia in F
      
Allegro moderato, grazioso (q = 96)
               
                   
p  
                  
        
 
 

 
  
             

95
PAUL DESSAU
233 Drei intermezzi für Klavier,
nr.2
  
   
 
      
        
mf cont.
       

ancor piu lento 

   
più lento dolce
    
     
    

   
 
      
234 B. BARTÓK
Mikrokozmosz III
Allegro con brio (q = 120) Lied von Fuchs
   
  
         
    
 
          
          
   
  
     
        
 
                
    
235 D. SOSTAKOVICI
Adagio (q = 80) Fuga IV, op. 87
 
        
       
               


                 
         
  
  
  
 
                 
   
   
  
        
   
96
      
        
  
     
 
      
                
236 D. SOSTAKOVICI
                 
Moderato (q = 80) Preludiu XVIII, op. 87
     
 

     
      
         

                 

                
     
      

            
        
  
   

 


  
237

S. PROKOFIEV
  
    
Lentamente Dve mimoletnosti
  
    nr. 1
  
 


pp con una semplicita espressiva

     
         
      

             
     


     
  
p

ppp
  

 
   

97
238 D. SOSTAKOVICI
      
       
Preludiu I, op. 87
 
Moderato (q = 80)

   

          
 
     
 
              

       

      
 
    

              
   
  
     
  
       
       

239 B. BARTÓK
Mikrokozmosz II
Linie und punkt
     
          
      
    
 
   

         
    
     
 
       
     
     

240 E. SATIE
Grave Choral Inappetisant
   
         
        
          
     
 
          
 
 
     
       
 

 

 

98
CL. DEBUSSY
241 Reverie pentru pian
   
   
    
3
         
   
   
         
  
    


 
    
3 
      
3

   

     
        
 
        
          

242 BELA BARTOK
          
Colinde pentru pian
 
Allegro moderato (q = 96-100)
           
nr. 3
           
f piú f
 
3
                 

  
      
    3 
                              
          
         
             
    
  
    
      
243 D. VOICULESCU
Andante Cântece fără sfârşit

           

nr. 64, Doina
            

                  
 
           
     
                   


       
         

                   
99
244
           
W.G. BERGER
Adagio Ricercar pentru orgă, op. 72
            
      
  
 
     
         
   

          
   
    
  
   
          

 
  
              
245 D. VOICULESCU
         
Lent şi rubato Cântece fără sfârşit, op. 72
  
             


        
3
     
    
      
                  
              

       
246 V. HERMAN
Trei piese cromatice
   
Moderato espressivo
 
Marş
            

              
    
 
    
             
 
            

  
   
100
247 V. GREFIENS
Allegro sostenuto Perpetuum mobile pentru pian
                     
 
 simile   
                     


                   
  
                     
248 T. DRĂGULESCU
Moderato, ben marcato Perpetuum mobile pentru pian
 
              
  

      
            
           
        
         
    
      
 
     

     
249 D. VOICULESCU
Cântece fără sfârşit
    
Piesă atonală

           
        
 
        


         
    
   
        
101
250 D. VOICULESCU
Cântece fără sfârşit
    
Allegretto (q = 60) Fughetta
     
    
p                    
p 
            
 

 
                    
     
    
 
          
        
   
              

  
        
             
f
           
   
               
  
           

 

p
               

       
251 F. DONCEANU
          
Piesă pentru pian
      
Visător
 
A fost odată
     
  
            
   
                    
  


  
     
         

252 M. JORA
      
     
Joc de copii
Espressivo

               
102
     

   
   
       
                 
  

     
    
 
        


 
253 P. CONSTANTINESCU
Două preludii pentru pian,

                       
Allegretto Nr. II

     

         
    

     
        
    
    
        
        
         
   
  
       
       
      
    

                 

254 M. JORA
Poze şi pozne I
                  
La gura sobei

       

       
      
           
    
    
         
    
103
255 LIVIU DANDARA
Piesă pentru pian
q = 60 După fragi
           
      

          
     


 
  
    
      
 


 
                    
   
256
A. VIERU
Andante Cântec de leagăn

        
      
                  
      
             
    
               
    
I. ODĂGESCU ŢUŢUIANU
257 Piesă pentru pian
                          
Poco meno mosso La joc

  

 
               
          
   
                     
  
 
                 
     
   

104
258 E. TERENYI
               
                    
Scarlatiana pentru pian
  
         

              
          
 
         

 
     
          
     
                 
               
   
  
      

 
   
  
  
  
            
         
 
259 D. CONSTANTINESCU
    
Sonatina II pentru pian
Moderato (q = 132)
     
p. I

3
     
3

                  
 
           
  
       
 
                     
   
  
 

         
      

         
         
  

   
     
   

    


   
            
105
260 T. OLAH
  

         

 
      
           

   
    
  
        
             

261 S. DRĂGOI
Două colinde pentru pian
nr. II

     
 

 

 

  

 
                
          



    
      
  
     
 
    
     
       
  
  
S. TODUŢĂ
262 Sonatina pentru pian
p. a II-a
Cantando un poco
                   
   
  
    
  simile  
          
  
   
               
        
           
                    

106
263 A. VIERU
Piesă pentru pian
Andante un poco
     
Noaptea
       
        

        


                

           

   
    
        
         

              

 
  

             
            
       
            
     
264 S. DRĂGOI
   
Dans de concert pentru pian
           
                    

   
                
         
   
  
        
          
           
 
                
 
   
 
             

            
 
          

   
         
 
107
265 D. CONSTANTINESCU
Sonatina I pentru pian
Andantino p. a II-a
          
 

 
   
         
   


               
 
   
   


   
  
G. ENESCU
266 Suita a III-a pentru pian
p. a II-a
  3 3   3 3
Allegro moderato

                            

  
       
    

 


   
  
 
 
                  
     
   
             



       
   
                
  
267 S. DRĂGOI
 
nr. I
          
    
    
   
 

       

    
  
   
 
 
     
 
   
 

    
       
  
    
108
268 GH. DIMA
Liturghia Sfântului Ioan
 
     
nr. 2, cor mixt
  
              
  
    
 
 
       
  
 
        
     
      
      
    




 

     

               
             
269 P. CONSTANTINESCU
    
   
Andantino nr. I
       

   
    
 
        

 
     
   
    
  
           

   
 
 

 

 

 

           
    
      
   
       
     
270 G. ENESCU
Suita III pentru pian

Moderato, non tropo lento p. a IV-a, Choral

  
              

 
       
        
   
   
  
       

   
 
  
    
     



3
  
3 3
      
3
              
    

  3  
     



       3   
 
      
3
         
3
 
   


   
           
   
3 3 3

3

             
    
 3       3   
   
3
       
3
        
    
109

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                            

        

         

     

                        

100 J.S. BACH

105 J.S. BACH

116 J.S. BACH

118 J.S. BACH

                

               

134 L. van BEETHOVEN

                          

146 L. van BEETHOVEN

                

                        

155 L. van BEETHOVEN

           

163 L. van BEETHOVEN

165 L. van BEETHOVEN

167 L. van BEETHOVEN

        

       

186 FR. CHOPIN

                     

          

             

ancor piu lento 

                 

              

              

         

                   

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