Affect and Feelings - The Persuasive Power of Film Music

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Title
Affect and Feelings: The Persuasive Power of Film Music
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https://escholarship.org/uc/item/4n1745zx
Author
Arroyo Garcia Lascurain, Fernando
Publication Date
2016
Peer reviewed|Thesis/dissertation
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University of California
UNIVERSITY OF CALIFORNIA
Los Angeles
Volume I
Volume II
Quintet for Piano and String Quartet
A dissertation submitted in partial satisfaction of
the requirements for the degree
Doctor of Philosophy in Music
by
Fernando Arroyo García Lascurain
2017
© Copyright by
2017
ABSTRACT OF THE DISSERTATION
Volume I
Volume II
by
Doctor of Philosophy in Music
University of California, Los Angeles, 2017
Professor David Samuel Lefkowitz, Chair
VOLUME I
In musical composition composers rely on the audience’s inherent understanding of
sound and musical affect. As the art form developed, the segregation of popular, folk and
“academic” music became more evident, thus leading contemporary concert music (different
from pop, rock, electronic and folk music) to be labeled under the larger realm of “classical”
music. What general audiences associate with classical music is the work of Beethoven, Mozart,
ii
Tchaikovsky, other composers of the past and present, orchestral or instrumental music written
by “classically” trained composers. This separation often makes the general audience think of
classical music as museum pieces, which are not (in most cases) a part of everyday life or
popular culture. However, classical music is experienced regularly through film. The musical
language encountered in film is mostly informed by so called “classical” music, ranging from
Gregorian chant, highly complex dissonant music, to electronic or pop music.
The marriage of music and film allowed for an exploration of musical range in terms of
genre, sound world, musical material and emotionality to create affective responses inherent in
the audience. This exploration resulted in the use of well-known musical signifiers called tropes
to elicit said affective response. Some of these tropes pre-dated film music, others grew from
conventions imposed by early composers of the genre, and some were created by iconic films or
other musical genres. Utilizing tropes, film composers accompany, convey and shape the
narrative of the film.
Focusing on film music, in this dissertation, musical affect and narrative through the use
of musical tropes is explored.
VOLUME II
This quintet for Piano and String Quartet utilizes some of the film music tropes
mentioned in Volume I to create an implied narrative. However the programmatic narrative of
the piece isn’t revealed to the audience in hopes that the recognizable tropes help convey the
meaning of the narrative.
iii
The dissertation of Fernando Arroyo García Lascurain is approved.
Travis J. Cross
Ian Krouse
Celia Mercer
David Samuel Lefkowitz, Committee Chair
University of California, Los Angeles
2017
iv
DEDICATION
This dissertation is dedicated to my parents Tere and Jorge, and my siblings Sofia and
Jorge. Your continued support and love since I began studying music 21 years ago, your words
of encouragement and the constant guidance continue to be the biggest source motivation in my
life. The sacrifices you made to allow me to live my dreams, and fulfill my academic goals,
move and inspire me every day.
I also dedicate this dissertation to my dear friend Cameron. You have become family,
and the support you provide, is crucial to any success I’ve had in the last four years.
v
TABLE OF CONTENTS
Abstract of the Dissertation…………………………………………………………………....ii
Volume I…………………………………………………………………………………ii
Volume II………………………………………………………………………………..iii
Dedication…………………………………………………………………………………….…v
Table of Contents………………………………………………………………………….…...vi
Table of Figures...…………………………………………………………………………......viii
Figures……………………………………………………………………………..…...viii
Charts..………………………………………………………………………………......ix
Acknowledgements…………………………………………………………………………......x
Biographical Sketch.…………………………………………………………………………...xi
Volume I…………………………………………………………………………………………1
Chapter I: Music, Affect & Narrative………………………………………………………....2
Introduction……………………………………………………………………………....2
Music & Affect……………………………………………………………………….….3
Music & Narrative……………………………...………………………………………..9
Chapter II: Tropes & Programmatic Music.………………………………………………..17
Musical Tropes……………………………………………………………………….…17
Programmatic Music…………………………………………………………………....21
Instrumental music in the Baroque & Classical eras………………..………….21
The Tone Poem………………………………...…………..…………………...24
vi
Chapter III: Musical Analysis……………….……………………………………………….27
Franz Liszt – Prometheus, Symphonic Poem No.9, S.99…………...………………….27
The Motives……………………………….....………..…...…………………...28
Structure……………………………..……………….………………………....31
Richard Strauss – Also Sprach Zarathustra, Op.30…………………………………….38
The Motives…………….....…………………………..…...…………………...39
Structure…………………………………………...…………………………....43
Analysis Conclusion…………………………………………………………………....50
Chapter IV: Film Music Tropes……………………………………………………………...52
The “Birth” of Film Music……………………………………………………………..52
Modern Film Music & Film Music Tropes…………………………………………….54
The different kinds of Film Music Tropes……...…………………...………....56
Cataloguing Film Music Tropes..……………...……………………………….64
Chapter V: Silverado, a Film Music Affective Analysis…………………………………….67
Analysis: “Main Title”…..……………………………………………………………...71
Analysis Conclusion…………………………………………………………………....77
Conclusion……………………………………………………………………………………..79
Appendix………………………………………………………………………………………81
Bibliography…………………………………………………………………………………..88
Volume II………………………………………………………………………………………91
vii
TABLE OF FIGURES
Figures
Figure 1, Jean-Philippe Rameau, Overture from Zais (score excerpt)………………………......21
Figure 2.1, Franz Liszt, Prometheus (motive 1, score excerpt)………………………………....28
Figure 2.2, Prometheus (motive 2, score excerpt)…………….………………………………...29
Figure 2.3, Prometheus (motive 3, score excerpt).……………………………………………...29
Figure 3.1, Richard Strauss, Also Sprach Zarathustra (motive 1)……………………………...39
Figure 3.2, Zarathustra (motive 2)…………….………………………………………………..40
Figure 3.3, Zarathustra (motive 3).……………………………………………………………..40
Figure 3.4, Zarathustra (motive 4)…………….……………………………………………..…40
Figure 3.10, Zarathustra (motive 10)…………….…………………………………………..…43
Figure 4.1……………………………………………………………………………………..…57
a) Antonin Dvorak, Symphony No.9 - Movement IV (score reduction)………………..57
b) Igor Stravinsky, Rite of Spring - Dance of the Young Girls (score reduction)………57
viii
c) John Williams, Jaws - “Opening titles” (score reduction)……………………….….58
Figure 4.2, Alan Silvestri, The Abyss (harmonic reduction)………………………..…….……59
Figure 4.3………………………………………………………………………………………61
a) Gustav Holst, The Planets - Mars (score reduction)……………...………………....61
b) Hans Zimmer, Gladiator – “The Battle” (score reduction).……………...………....62
Figure 5.1, Bruce Broughton, Silverado - Main Theme (score reduction)……………………..69
Figure 5.2, Silverado - Settlers Theme (score reduction)……………………………………....70
Figure 5.3, Silverado - “Main title” (score excerpt reduction)……………………………….....72
Figure 5.8, Silverado - “Party Crashers” (score excerpt reduction)………………………….....76
Charts
Chart 1, Franz Liszt, Prometheus (block diagram)…………………………………………….32
Chart 2, Richard Strauss, Also Sprach Zarathustra (arc diagram)…………………………….49
ix
AKNLOWLEDGEMENTS
It is with sincere gratitude that I thank my committee members for their generous
participation in this process, imparting me with their experience, knowledge and time. I am
especially grateful to Dr. David S Lefkowitz, my dissertation advisor, for his patience, guidance,
knowledge and continued support throughout the writing of this dissertation and my years at
UCLA. I am also thankful to my mentors and teachers at UCLA, Dr. Ian Krouse, Dr. Bruce
Broughton, Dr. Peter Golub, and Dr. Paul Chihara; my mentors at Manhattan School of music,
Dr. Richard Danielpour, Dr. Nils Vigeland, Dr. Reiko Futing and Dr. J. Mark Stambaugh; my
violin, piano and composition teachers Dr. Gabriel Pliego, Gonzalo Gutierrez, Ninfa Calvario,
Julieta Mora, Mauricio Nader and Humberto Hernandez Medrano; you inspire me an continue to
do so through your knowledge and art.
Many thanks for the unwavering support of my dear aunts Maria, Margarita and Nina, my
extended family, and my dear friends Renato, Michael, Leif, Dimitry, Filip, Jesus, Anna,
Rodrigo, Daniel and Trent.
Finally, I thank my uncle and aunt Roberto and Cecilia, for their support in the early
stages of my career.
x
BIOGRAPHICAL SKETCH
Fernando Arroyo García Lascurain received his Bachelor of Music (2009) and Master of
Music (2011) degrees in Composition at the Manhattan School of Music under the tutelage of
Dr. Richard Danielpour, where he was awarded a “Merit Scholarship” for two years. Upon
graduation from his Master degree, Arroyo was awarded the Van Lier Foundation Fellowship, an
award given to a young composer in the early stages of his career, working in any style of music
or sound art that have proven their artistic merit. In 2012 he relocated to Los Angeles to pursue a
PhD in Composition at the University of California in Los Angeles (UCLA), where he served as
a teaching assistant for Musicianship and Music Theory courses. At UCLA, composers Bruce
Broughton, Paul Chihara, Peter Golub, Ian Krouse, and David S. Lefkowitz mentored him.
During the summer of 2015, renowned Mexican private university Universidad
Panamericana asked Fernando to help create the first private university program for the Fine Arts
(Bellas Artes) in Mexico. His duties included creating the curriculums for a four-year degree in
film music composition, music technology, orchestration, music theory and ear training.
As a violinist and pianist, Fernando Arroyo has performed Arroyo has performed with the
Orquesta Arteus, OCUP Orchestra, OSC Orchestra, Artemus Orchestra and in venues such as
Carnegie Hall, Symphony Space in NYC, Le Poison Rouge, Kings College Cambridge, LACMA
Museum in Los Angeles, Metropolitan Museum of Art in NYC, Sala Nezahualcoyotl, Sala Ollin
Yoliztli, Palacio de Bellas Artes and other concert halls across Mexico. He has also performed in
Cambridge, London, Madrid, Torres Ciudad, Bilbao, Navarra, Chicago, Washington D.C, San
Diego, Los Angeles, San Francisco, Fresno and South Korea. He was also the Concertmaster of
xi
the Cedros-UP Symphony Orchestra and the Universidad Panamericana Chamber Orchestra.
Fernando has been a featured performer in several recordings, ranging from classical to tango,
Danzón, rock, film and pop music.
Fernando Arroyo’s concert music has been performed throughout Mexico, Spain,
Chicago, New York, United Kingdom, South Korea, and California ranging from solo
instrumental works, opera, chamber music, and large symphonic works to film, theatre and
popular music. As a film composer, Fernando has collaborated with film directors Roland
Emmerich, Trent Kendrick and is set to compose the music for Jose Sierra’s (winner of the Ariel
Price 2015) first feature film. In the fall of 2013 Fernando wrote the Music for Any Given
Tuesday, a PSA featuring Elton John and Jamie Foxx. In 2016 Fernando composed the music for
the documentary Pet Fooled (2017) by producer Michael Fossat, and worked as a music assistant
and consultant for composer Harald Kloser on Independence Day: Resurgence (2016).
xii
VOLUME I
1
CHAPTER I: MUSIC, AFFECT, & NARRATIVE
INTRODUCTION
It is no mystery that film and music induce strong emotional responses. We are easily
seduced by “the experience”—the concept of heightened sensory state through entertainment.
Over the last century our society has increasingly become entertainment driven, and we are often
exposed to an overload of sensory stimulations packed into small doses. Be it a YouTube video,
a television show, a feature film, or even a ten second Snapchat video, we are often unaware of
the intricacies involved in creating the strong emotional responses that make up “the
experience.” Music, which I believe to be the most emotionally malleable of the arts, is central to
these responses, utilizing affect and narrative to manipulate our emotions.
This dissertation explores the affective and emotional power of film music through the
use of musical tropes. Not to be confused with the tropes of the 9th century,1 the musical tropes
referred to in this dissertation are musical signifiers that have become conventional, be they
harmonic progressions, melodic contours, instrumentation or the use of folk elements. Tropes
become such out of a specific affective reaction or narrative association upon listening to them
(e.g., the high strings in the shower scene from Psycho, or the ostinato low strings in Jaws main
1
Musical tropes were originally conceived in the 9th century as “a number of closely related genres consisting
essentially of additions to pre-existing chants. Three types of addition are found: (1) that of a musical phrase, a
melisma without text (unlabelled or called trope in the sources); (2) that of a text to a pre-existing melisma (most
frequently called prosula, prosa, verba or versus, though sometimes also trope, in the sources); (3) that of a new
verse or verses, consisting of text and music (most frequently called trope, but also laudes, versus and in certain
specific cases farsa, in the sources).”
Alejandro Enrique Planchart. "Trope (i)." Grove Music Online, Oxford Music Online (Oxford University Press)
http://www.oxfordmusiconline.com/subscriber/article/grove/music/28456
2
theme, signifying danger or horror); these reactions and associations can be intrinsic, learned,
direct or abstract. To grasp why we react a certain way to these tropes, we must first understand
affect in music.
MUSIC & AFFECT
Musical affect has been a topic of interest for centuries. Aristotle explored music beyond
what he deemed something to be “pursued, not only as an alleviation of past toil, but as
providing recreation.”2 He wrote:
“In addition to this common pleasure, felt and shared by all (for the pleasure
given by music is natural, and therefore adapted to all ages and characters), may it
not have also some influence over the character and the soul? It must have such
an influence if characters are affected by it. And that they are so affected is
proved in many ways, and not least by the power which the songs of Olympus
exercise; for beyond question they inspire enthusiasm, and enthusiasm is an
emotion of the ethical part of the soul. Besides, when men hear imitations, even
apart from the rhythms and tunes themselves, their feelings move in sympathy.”3
Both Plato and Aristotle define imitation as artistic representations of emotions and
personality characteristics. This concept of imitation is present in tropes. The idea that music can
imitate a feeling, an action, an object, animal or the concept of a place is an important element of
a trope. Aristotle writes: “Rhythm and melody supply imitations of anger and gentleness, [...]
2
Aristotle, Politics, Book VIII, trans. Benjamin Jowett (Kitchener: Batoche Books, 1999), 186-87.
3
Ibid., 187.
3
and of other qualities of character, which hardly fall short of the actual affections, [...] for in
listening to such strains our souls undergo a change. The habit of feeling pleasure or pain at mere
representations is not far removed from the same feeling about realities.”4 The idea that music
can create affect through imitation is one of the most important elements of a trope. Whether it is
imitating an emotion or a sound, or associating an action with music; tropes rely on an intrinsic
understanding of the parallels between the imitation and the object of imitation.
Referencing musical tropes in ancient Greece, Aristotle poses that in poetry and music
there are imitations of manners. He states “even in mere melodies there is an imitation of
character, for the musical modes differ essentially from one another, and those who hear them
are differently affected by each.”5 Aristotle continues to describe affective responses associated
with tropes, based on the ancient Greek modes (distinct from the church modes and known as
tonoi6) and harmony: “Some of them make men sad and grave, like the so-called Mixolydian,
[...] another, again, produces a moderate and settled temper, which appears to be the peculiar
4
Aristotle, Politics, 187.
5
Ibid.
6
Different writers of the time had different understandings of the term tonoi:
● The section of the Harmonic Elements in which Aristoxenus discussed the tonoi has not survived, but it is
clear from other sections of the treatise that Aristoxenus associated the tonoi with ‘positions of the voice’.
This feature is preserved in Cleonides' later definition (Jan, 202.6–8), which states that the term tonos can
refer to a note, an interval, a position of the voice and a pitch. Cleonides attributes to Aristoxenus 13 tonoi,
with the proslambanomenoi advancing by semitone over the range of an octave between the Hypodorian and
the Hypermixolydian; Aristides Quintilianus (On Music, i.10) observes that the ‘younger theorists’ (neōteroi)
added two additional tonoi, and in fact just such a set of 15 tonoi is preserved in the notational tables of
Alypius..."
● Ptolemy (Harmonics, esp. ii.3–11) presents a different conception of the tonoi, based on the seven octave
species; this is not strictly a part of the Aristoxenian tradition but is related to it. In Ptolemy's view, since the
seven octave species might be replicated within a single range of so-called ‘thetic’ notes and the dynamic
function of the various notes is determined by the mese (which is itself partly determined by the intervals that
surround it), there need only be seven tonoi.
Thomas J. Mathiesen, et al. "Greece." Grove Music Online, Oxford Music Online. Oxford University Press, accessed
May 17, 2016, http://www.oxfordmusiconline.com/subscriber/article/grove/music/11694pg1
4
effect of the Dorian; the Phrygian inspires enthusiasm. The whole subject has been well treated
by philosophical writers in this branch of education, and they confirm their arguments by facts.
The same principles apply to rhythms; some have character of rest, others of motion, and of these
later again, some have a more vulgar, others a more nobler movement.”7
Following Aristotle’s affective views on the modes,8 scholars like Mattheson9 believed
that the Greeks associated certain emotions with the tribes from which the names of the modes
originated:
“Dorian harmony exhibited the manly vigour, magnificent bearing and
temperate nature of the true Hellenic race. Aeolian and Ionian keys mirrored the
characteristics of their respective Grecian tribes. Two keys were possibly adopted,
brought by the barbaric Phrygian and Lydian invaders. To these keys were
imparted respectively orgiastic and threnodic qualities… The Dorian key was
associated with kithara, Apollo, peace and objectivity, while the Phrygian key was
associated with the aulos, Dionysis, excitement and subjectivity.”10
Just as with modes, there were characteristics associated with certain instruments, which
rendered them inappropriate for some modes. Aristotle offers an example of such exceptions:
“the flute is not an instrument which is expressive of moral character; it is too exciting. The
proper time for using it is when the performance aims not at instruction, but at the relief of the
7
Aristotle, Politics, 187-89.
8
Maho Ishiguro, “The Affective Properties of keys in instrumental music from the late nineteenth and early
twentieth centuries.” (Master’s thesis, University of Massachusetts – Amherst, 2010), 5-6.
9
Johann Mattheson, Der vollkommene Capellmeister: a revised translation with critical commentary by Ernest C.
Harriss (Ann Arbor, Michigan: UMI Research Press, 1981).
10
Oliver Strunk, Source Reading in Music History, Vol.I (New York: Norton, 1998), 16.
5
passions.”11
During the Baroque period, Mattheson’s thoughts on musical affect and rhetoric went far
beyond the modes, believing that it was important for a composer to learn the musical tools and
affections to be able to manipulate the audience. In Der Vollkommene Capellmeister Mattheson
speaks of the affective qualities of the different melodies, dances and types of pieces:
- Minuet = Moderate gaiety.

- Gavotte = Jubilant joy.
- Bouree = Contentedness, pleasantness, unconcerned, relaxed, careless.
- Rigaudon = Flirtatious pleasantry, trifling jocularity.
- La Marche = Heroic and fearless.
- Entrée = Elevated, noble and majestic.
- Gigue = Hot and hurried eagerness, passionate.
- Loure = Proud, arrogant and pompous.
- Canarie = Desire, eagerness and swiftness.
- Giga = Greatest quickness.
- Polonaise = Open Hearted, frank and free mannered.
- Angloise = Stubbornness.
- Passepied = Frivolity.
- Rondeau = Firmness or firm confidence.
- Sarabande = Ambition.
- Courante = Sweet hopefulness.
- Allemande = Contented or satisfied spirit.
- Chaconne = Pleasure and satiety.12
Just as with the melodies and dances, Mattheson assigns affective characteristics to what
he considers the 17 most practical key signatures:
1. C Major = Rude, bold or tender.

2. C minor = Sweet or sad.
3. D Major = Sharp, headstrong, warlike or merry.
4. D minor = Devout, tranquil, grand, amusing or flowing.
5. Eb Major = Pathos, serious, sad or hostile to all sensuality.
6. E Major = Despair, fatal sadness, hopelessness of extreme love, painful or piercing.
7. E minor = Pensive, profound, grieved or sad.
11
Aristotle, Politics, 189.
12
Johann Mattheson and Hans Lenneberg, “Johann Mattheson on Affect and Rhetoric in Music (I).” Journal of
Music Theory 2, no. 1 (1958): 47-84.
6
8. F Major = Most beautiful sentiments, generosity, constancy or love.
9. F minor = Tender, calm, profound, weighty, a fatal mental anxiety or exceedingly
moving.
10. F# minor = Languishing, amorous, unrestrained, strange or misanthropic.
11. G Major = Suggestive and rhetorical, for serious as well as gay things.
12. G minor = Almost the most beautiful, graceful, agreeable, tender, yearning, yearning,
diverting, for moderate complaints or tempered joyfulness.
13. A Major = Affecting and brilliant, inclined to complaining or sad passions.
14. A minor = Plaintive, decorous, resigned or inviting sleep.
15. Bb Major = Diverting, magnificent, but also dainty.
16. B Major = Offensive, harsh, unpleasant or desperate character.
17. B minor = Bizarre, morose or melancholic.13$
Whether these particular associations still hold today or not, it shows how affect may be
associated with specific musical devices. Film music relies on tropes to realize storytelling
through music, and to enhance the action on the screen. Using the affective associations of
tropes to bridge the audience with the emotions, storyline connections, and/or subtext not explicit
on the screen.
When considering the affective power of tropes it is important to understand musical
reactions that are innately determined, rather than those learned through experience. Why do we
react in specific ways to low sounds, high sounds, rhythm, orchestration or harmony? In the
article Multimodal Affective Interaction: A Comment on Musical Origins,14 Livingstone and
Thompson explore the origins of innate musical properties. They write, “the many uses of music
across cultures and historic times suggest that music is not a purely auditory phenomenon
[but…] [a]ffective cues in music are integrated with those in accompanying gestures and facial
expressions, and parallels exist in the nature of such cues in different domains such as melody
13
$ Johannes Mattheson, Die Drei Orchestre-Schriften, I Das Neu-Eröffnete Orchestre. (Hamburg: Laaber, Laaber-
Verlag, 2002/1713), 231-53.
14
$ Steven R. Livingstone and William Forde Thompson, “Multimodal Affective Interaction.” Music Perception: An
Interdisciplinary Journal 24 (2006): 89-94.
7
and prosody.”15 Livingstone and Thompson explain that, considering all music beyond Western
music, “it is difficult to identify structural features or functions common to all music.” However,
they believe the correlations are in “domains such as speech…[and]… other modalities.”16
Livingston and Thompson write about understanding the role of “acoustic and structural
aspects of music’’ that is “reliably associated with affective connotations.”17 Drawing from a
separate article, they talk about “affect represented in two dimensions: activity (arousal) and
valence.”18 This idea is weaved into the nature of drama and music, and it is what storytellers
rely on. If a film fails to elicit the proper arousal, is has failed at conveying the appropriate
affective reaction from the audience.
Looking at musical cues19 in relationship to affective connotations (e.g. staccato, and fast
music in a minor key have negative connotations like anger or aggression), Livingston and
Thompson explore why we make those associations. They propose “a general capacity for
affective interaction, coupled with the emergence of a theory of mind, enabled a host of symbolic
systems, including music.”20 They relate this to Aristotle’s idea of the imitation of emotions
through musical association, and give us a better understanding of Mattheson’s affective musical
associations.
15
Ibid., 89.
16
Livingstone and Thompson, “Affective Interaction,” 90.
17
Ibid.
18
Ibid., 91.
19
For the purpose of this dissertation it is important to note the difference between the ‘musical cues’ in the context
of music as a whole, and the ‘musical cues’ in a film. The former represent the emotional cues elicited by music, and
the later refers to any appearance of music in a film. For the purpose of clarity, hereafter, ‘musical cues’ in a film
will be referred to as ‘score cue/s’.
20
Ibid.
8
Ervin Laszlo defines affect “as the emotion arising in the context of a stimulus-response
relationship.”21 To explore this definition, Lazlo referenced MacCurdy's analysis that “affect
involves three phases: (a) the arousal of nervous energy in connection with instinct or tendency;
(b) the propensity for this energy to become manifest as behaviour or conscious thought once the
tendency is inhibited; and (c) the manifestation of the energy as affect if also behaviour and
conscious thought are inhibited.”22 Laszlo explains that “applied to music the theory of affect
states that musical works set up expectations for the listener due to a concordance of the heard
patterns of sound with past musical experience,”23 but given that every musical work, or new
listening of a previously heard work ends up being new in relation to all others, these
expectations are inhibited with arousal being the resulting effect of said inhibitions. Based on
these assertions, Laszlo continues: “The theory explains the emotional response to music in
terms of a wide-ranging psychological theory of emotion. It identifies the listener's emotions as
affect, arising due to the inhibition of acquired patterns of expectation.”24
MUSIC & NARRATIVE
If we consider Laszlo’s assertions, that the listener’s affective responses are a reaction to
a broken expectation, it is possible to draw a parallel with unexpected turning points in a story. It
is in this regard that I believe musical affect is a product of musical narrative, where the
21
Ervin Laszlo, “Affect and Expression in Music.” The Journal of Aesthetics and Art Criticism, Vol.27 (1968): 131.
22
Laszlo, “Affect and Expression in Music,” 131.
23
Ibid., 132.
24
Ibid.
9
composer relies on the created expectations of the narrative, only to disrupt them through an
unexpected event, thus eliciting an affective reaction from the audience.
Fred Everett Maus25 talks about Vladimir Propp’s Morphology of the Folktale26 and his
contributions to “modern narrative syntax.” Maus proposes that Propp’s idea of “thirty-one
[narrative] ‘functions’, as a normative succession to which individual folktales conform,” can be
directly related to the structure of classical rondo or sonata forms.27
Acknowledging the possible objections of music theorists to this relationship, Everett
states:
“First, the analogies depend on conventional descriptions of musical form, and
much recent theoretical work rejects these descriptions as superficial. Second,
more specifically, conventional descriptions of musical form obscure the
hierarchical nature of musical structure […] An analogy between musical and
narrative structures need not depend on an acceptance of conventional
descriptions of musical formal patterns [...] Schenker, bypassing the
conventional formal types, offers a paraphrase of his own late theory in story-
like terms: ‘In the art of music, as in life, motion toward the goal encounters
obstacles, reverses, disappointments, and involves great distances, detours,
expansions, interpolations, and, in short, retardations of all kinds. Therein lies the
source of all artistic delaying, from which the creative mind can derive content
that is ever new. Thus we hear in the middleground and foreground an almost
25
Fred Everett Maus, “Music as Narrative.” Indiana Theory Review Vol.14 (Spring and Fall of 1991): 1-34.
26
Vladimir Propp, Morphology of the Folktale (Texas: University of Texas Press, June 1968)
27
Maus, “Music as Narrative,” 2.
10
dramatic course of events.’ [...] Some theories of narrative, unlike Propp’s,
hierarchize plot events much as recent theories, most importantly Schenker’s
theory, hierarchize musical events.”28
Following this idea of musical hierarchy, Maus brings in the audience’s perception and
states that: “Listeners can hear musical successions as story-like because they can find something
like actions, thoughts, and characters in music [...] Musical events can be regarded as characters,
or as gestures, assertions, responses, resolutions, goal-directed motions, references, and so on.
Once they are so regarded, it is easy to regard successions of musical events as forming
something like a story, in which these characters and actions go together to form something like
a plot.”29 These musical events could be motifs, recognizable harmonic progressions, and, more
often than not, learned musical tropes. As history progressed the relationships between music
and associations solidified. The use of a flute playing a trill or an arpeggio to imitate a bird was
naturally translated into the affect of flying or the wind. It is these sorts of affective associations
that become known as tropes in film music. The direct association helps the audience quickly
identify an affective response, and attach it to their understanding of the film’s narrative.
Maus continues: “Instrumental music consists of a series of events, and the easiest
anthropomorphism is to treat those events as behavior, as actions. Once one begins thinking of
musical sounds as actions, rather than just events, the notion of plot or narrative is close at hand.
Stories are primarily about human actions, and the story teller's integration of events into a plot
28
Maus, “Music as Narrative,” 4.
29
Ibid., 6.
11
reflects the need to understand actions by placing them in a temporally extended context.”30
Considering Maus’ assertion that unconventional musical forms relate directly to literary
narrative, and that musical events should be seen as actions, we may conclude that the
storytelling of a film score resides, not only in tandem with the film, but within the music itself.
Looking at the famous Imperial March by John Williams (Star Wars: The Empire Strikes Back,
George Lucas 1980), the use of a march, paired with the heavy use of brass and the incessant
drum corps, and the constant minor third relation immediately conveys a serious and menacing
affect. By using an A-B-A structure, Williams attaches a clear narrative to the piece itself, thus
giving the music a narrative life beyond that of the film. However, often cues are too short to
convey narrative on their own and only exist to enhance the film’s narrative by underscoring the
scene.
It most be noted that not all writers agree with Maus. In the article Narrative Film Music,
Claudia Gorbman writes that “the moment we recognize to what degree film music shapes our
perception of a narrative, we can no longer consider it incidental or ‘innocent’.”31 Gorbman
brings attention to the lack of narrative in film music itself, and outlining how often the focus is
“on the narrative and the visuals of the screen before us,” and “we forsake any consideration of
[...] music because it is nonrepresentational and non-narrative, and does not inhabit the
perceptual foreground of the narrative film.”32
30
Ibid., 7.
31
Claudia Gorbman, “Narrative Film Music.” Yale French Studies, No.60 Cinema/Sound (1980), 183.
32
Ibid., 184.
12
Gorbman writes that it is possible to “see music as 'meaning' [...] on three different levels
in any film.”33 To explain these levels Gorbman presents the following scenarios:
“If we actively listen to a Bach fugue, we are listening to the functioning of
pure musical codes […]. The Bach fugue playing at a coffee house, while people
interact with each other functions more in its cultural context; it refers to cultural
musical codes (and elicits enculturated reactions). For example, the music that
plays while a film's credits unroll—jazz, pseudo-classical, Wagnerian, folk—
activates these cultural codes, and can reveal beforehand a great deal about the
style and subject of the narrative to come. Third, music in a film refers to the
film—that is, it bears specific formal relationships to coexistent elements in the
film. The various ways in which it does so shall be called cinematic musical codes
[...].”34
To justify the use of music in film, Gorbman goes back to silent film and the need for
music to communicate “narrative information that has been since restored to the providence of
dialogue and sound effects.”35 However, why do we still need music in film? Gorbman contends
that music works “as mediation: between film and older dramatic traditions, between spectator
and circumstances of projection, between spectator as a living being and the cinema.”36 She
continues:
33
Gorbman, “Narrative Film Music,” 184-85.
34
Ibid., 185.
35
Ibid.
36
Ibid., 186.
13
“Jean Mitry maintains that the rhythm of music mediated between real time
as experienced by the audience and the diegetic or psychological time adhered to
by the film: 'Owing to its unrealistic nature, the silent film was incapable of
making the spectator experience a real feeling of duration. The time lived by the
characters of the drama, the temporal relations of the shots and sequences - all this
was perfectly well understood - rather than felt. What was missing in the film was
a sort of beat which could internally mark the psychological time of the drama in
relation to the primary sensation of real time. In other words, what was missing
was a beat capable of justifying cinematic rhythm and cadence. This beat [...] was
provided by music.'”37
Exploring the “social functions of music,” and how it creates “a feeling of collectivity or
communality,” Gorbman suggests that “whatever music is applied to a film segment will do
something, will have an effect—just as whatever two words a poet puts together will produce a
meaning different for that of each word separately [...] Image, sound effects, dialogue, and
music-track are absolutely inseparable during the viewing experience, and they form a
combinatoire of expression.”38
In film, Gorbman points out, the only element that is potentially both diegetic and
nondiegetic is music, thus traveling freely between the audience and the story. Sometimes the
music becomes part of the action, guides the audience through the action, or provides subtext.
She explains: “Once we understand the flexibility that music enjoys with respect to the film
37
Gorbman, “Narrative Film Music,” 186.
38
Ibid., 189.
14
diegesis, we begin to recognize how many different kinds of functions it can have: temporal,
spatial, dramatic, structural, denotative, connotative - both in the diachronic flow of a film and at
various interpretive levels simultaneously.”39
Regardless the question remains: What makes nondiegetic music work in a film?
Gorbman presents this answer: “The status of music as non-verbal and non-denotative allows it
to cross all the varieties of ‘borders’: between levels of narration (diegetic/nondiegetic), between
narrating agencies (objective/subjective narrators), between viewing time and psychological
time, between point in diegetic space and time (transitional functions).”40 Filmmakers bridge
those two levels and connect with the audience through musical narrative that includes both its
own narrative, and the film’s narrative. This musical narrative is created by musical associations,
which induce a learned reaction in the audience.
Gorbman goes on to discuss the different narrative levels of film music: “We might
persist in enumerating other types of continuity that music can promote: thematic, dramatic,
rhythmic, structural, and so on. In each case music functions as connecting tissue, a non-
representational provider of relations, among all levels of the narration. One area that invites
extensive exploration is the function of music with respect to the point of view: for it can mark
shifts in point of view, or it can assure, a continuous, often narratively ‘illogical’, progression
from one viewpoint to another.”41 One way composers play with the illogical narrative is by
attending to the film’s narrative, utilizing a clashing musical one (e.g. a dissonant and eerie
39
Gorbman, “Narrative Film Music,” 196.
40
Ibid., 203.
41
Ibid., 202.
15
aleatoric piece against an intimate moment between two lovers). At the center of this musical
narrative we find musical tropes—recognizable emotional and musical cues that guide or deceive
the audience in their appreciation and apperception of the greater narrative.
16
CHAPTER II: TROPES & PROGRAMMATIC MUSIC
MUSICAL TROPES
After covering the nature of affect and musical narrative we turn to the main subject in
this dissertation: tropes. The use of this term in music is closely related to its application to
language. As defined by the Oxford English Dictionary, the term trope means: “To represent or
interpret (something) in a figurative or metaphorical way. Now chiefly: to express or depict (an
image, idea, etc.) figuratively, esp. as a literary motif.”42
For the purposes of this dissertation, we will define tropes as musical signifiers that have
become conventional, be they harmonic progressions, melodic contours, instrumentation or the
use of folk elements. Just as in literature, these signifiers have become musical representations of
‘something’ (e.g. affect, actions, geographical location, cultural identity, etc.). Tropes can be
separated into two categories:
1) Innate: These are musical signifiers that we react to on a visceral level. These reactions
and associations can be attached to rhythm, harmony, dissonance, timbre, frequency and
articulation. For example: associating dissonance or constant rhythm with tension and
movement, respectively.
2) Learned: These are the tropes that have been passed on throughout history, and that we
learn through culture and exposure. Learned tropes can be associated with
42
"trope, v.". OED Online. Oxford University Press, accessed on March 20, 2016,
http://www.oed.com/view/Entry/206680?rskey=Tek6Ig&result=2&isAdvanced=false
17
instrumentation, melodic contour, intervals, harmony, rhythm or a combination of them.
There are three different parameters that could justify a trope being cultivated:
● Musical/narrative associations that have become conventional. For example:
associating brass in fifths with heroism, nature or royalty.
● Association of historical period, geographical location, or cultural identity. For
example: utilizing Gregorian chant to create an association with Christianity
during the medieval era, or utilizing an erhu or a sitar to elicit a certain “ethnic”
music feel.
● Associations created by a piece of music that become so embedded in society,
they end up eliciting a specific affective reaction. For example: The two note
motive in John Williams’s score to Jaws signifying imminent danger (or more
specifically a shark), or the opening notes of Beethoven’s Symphony No.5 being
identified in popular culture as “fate knocking on the door.”
While learned tropes make use of innate tropes, the latter don’t always result in the
former. In film music, the use of both of these tropes is necessary to convey both diegetic and
non-diegetic narrative.
In Chapter I, it was discussed that Aristotle speaks of the affective associations of
different modes and instruments, and Mattheson of the affective associations of dances and key
signatures. Though not necessarily tropes, these affective associations would still fit the literary
definition of the word. Following that line of thought, and looking at the nature of narrative in
music (whether programmatic or not), one may conclude that tropes are utilized to create an
affective association that could result in or helps drive a musical narrative. It is that narrative,
18
functioning through tropes, that helps guide the performer and listener to interpret and
understand the affective intent of the music.
Robert S. Hatten makes an effort to analyze music through a performer’s perspective. 43
He discusses three different musical devices:
1. Musical Gestures: “Musical gestures, as reconstructed from a score and a performing
tradition, are significant, expressive, and energetic shapings through time. They often
highlight such neglected parameters as pacing, dynamics, and articulation, while
synthesizing these with the more typically analyzed parameters of rhythm and meter,
melody and motive, harmony and tonality, phrase structure and form. A musical gesture
may arise spontaneously and then function thematically, dialogically, rhetorically,
topologically, or in some interesting combination of these roles.”
2. Topics: “Topics are characteristic figures, dances, marches, genres, textures, or even
entire styles that are imported, along with their general expressive correlations, into a
larger work, in which they are then contextually interpreted, often as part of the dramatic
trajectory, or what I call expressive genre, of that work.”
3. Tropes: “Tropes are interactions or fusions of disparate, at times even incompatible,
stylistic types (including gestures and topics) that are superimposed or juxtaposed in a
single functional location, where they propose creative meanings that emerge from their
contextual interaction.”44
43
Robert S. Hatten, “Performance and Analysis—or Synthesis: Theorizing Gesture, Topics, and Tropes in Chopin's
F-minor Ballade,” Indiana Theory Review 28 (2010): 45–66.
44
Hatten, “Performance and Analysis,” 66.
19
We must note that Hatten’s definition of tropes is limited to the use of ‘stylistic types,’
leaving out many other parameters that could be considered to constitute a trope (indeed, what he
labels “topics” may also be characterized as “tropes” according to the definitions we have
discussed earlier). However, Hatten concludes that gestures, topics, and [his definition of] tropes
“may be seen to coordinate with tonal, thematic, and phrase structures in a way that synthesizes
their motivated energies and humanizes them as forms of expressive significance.”45
The importance of tropes in film music now begins to become apparent. Jessica Green
argues that it is the “tendency of audiences to use the score as a tool for understanding the
meaning of other channels of information that makes film music so integral to the film-viewing
experience. When using the music to help determine the meaning, the audience becomes less
questioning, and more accepting, of what is happening on screen.”46 The reaction of becoming
‘less questioning, and more accepting,’ of the actions on the film is called “suspension of
disbelief.” Different narrative levels of film music, as previously discussed through Gorbman,
generate affective associations that contain recognizable musical gestures and (Hatten) topics.
The associations provided by tropes (hereafter understood as defined earlier in the dissertation
and not Hatten’s definition) are the most useful tool in weaving a musical narrative that gives
extra-visual meaning to the action on screen, as they elicit specific affective reactions and
musical signifiers the audience can quickly recognize, either consciously or subconsciously.
But where do film music tropes come from? To answer that question we briefly look at
the history of programmatic music.

45
Hatten, “Performance and Analysis,” 63.
46
Jessica Green, “Understanding the Score: Film Music Communicating to and Influencing the Audience,” Journal
of Aesthetic Education 44 (2010): 84.
20
PROGRAMMATIC MUSIC
Instrumental music in the Baroque & Classical eras
With the development of opera and the rise of instrumental music during the late
Renaissance, composers started finding themselves more driven by musical narrative. During the
Baroque, composers like Jean-Philippe Rameau, wrote innovative orchestrations in the “pure”
music sections of his operas to convey narrative and affective associations. His overtures,
ritornellos, and instrumental interludes use orchestration to depict storms, earthquakes and other
natural phenomena. Most famous is his depiction of chaos during the creation of the universe in
the overture to his ballet Zais (Figure 1.1).
Figure 1.1: Jean-Philippe Rameau, Overture from Zais, RCT 60
(score excerpt, mm. 36-39)
21
In the excerpt above we can see chaos in the use of diminished seventh chords, and fast
harmonic progressions being arpeggiated in the strings, against the muffled drum roll, and the
double reeds playing diminished seventh chords. The continuous pulse of the base line, the
measured drum rolls and the dropping strings elicit a musical association that helps convey the
narrative.
The affective associations established in this piece by Rameau may not have become
tropes, but the nature of his orchestrations, and the musical devices he used to achieve the effects
he desired, relied on musical conventions (like the use of sequential diminished sonorities to
symbolize chaos) to achieve the desired narrative.
With the emergence of ‘absolute music’ during the 18th Century, composers were more
concerned with musical narrative equating formal structure. However, the absence of program
did not result in a lack of trope development. Tropes associated with certain instrumentations or
harmonies had been present for centuries—for example, the use of a trombone choir to signify
death, the tritone as the devil’s interval, or even the use of instrumentation and harmonic
language to convey different nationalities of musical style. Mattheson’s ideas regarding the
affective associations of dances and key signatures were a popular topic of the era, even though
they were not necessarily applied by the composers of the time. Exceptions were found, like
Vivaldi’s famous Four Seasons, stemming from a long tradition of programmatic music and
establishing tropes (e.g. the use of trills played sul ponticello to convey the ‘icy wind’ at the
beginning of The Winter) within the work.
In the Classical period, with the rise of the symphony and the string quartet, we begin to
see tropes based on instrumental association utilized. An example of this is the use of cymbals or
22
triangles to depict Turkish music, as used by Beethoven and Mozart. Earlier on, the famous Toy
Symphony: Cassation (attributed to either Joseph Haydn, Leopold Mozart, or others), utilized
children toys in its orchestration to imitate birds and soldiers.
On the other hand, narrative associations were also present. Beethoven writing a lengthy
title, and the several expressive markings with affective connotations for the Cavatina of his
String Quartet Op.130 is a clear example of programmatic intent. With this in mind, one may
contend that the narratives hidden within sonatas, quartets and symphonies of the period went
beyond a narrative dictated solely by the form of the piece.
Beethoven was at the forefront of utilizing programmatic titles for instrumental music,
like the “Eroica” Symphony No.3 and the “Pastoral” Symphony No.6. While titles like these
may not always signify a specific program, it is clear that Beethoven intended a specific affective
association. As he moved towards his later symphonies, Beethoven started to embrace the use of
a program in his music. His “Pastoral” Symphony No.6 included a clear program, depicting life
in the countryside and a storm. This symphony included descriptive titles for each movement,
guiding the musical narrative.
It has been said that Beethoven is the first Romantic composer, a belief perpetuated by
statements like the following one written by R.W.L. Mendl: “[Beethoven] himself declared that
he always worked to a picture, but probably he meant by those words merely that his
compositions were not absolute music in the true sense of the term.”47 Whether or not this is true,
a few other composers began to assign affective titles to their symphonies and create a narrative
47
R. W. S. Mendl, “Beethoven as a Writer of Programme Music,” The Musical Quarterly 14 (1928): 172–77.
23
closely related to them. A good example of this is Mendelssohn’s Italian Symphony No.4, which
includes a clear program and a tarantella in the final movement.
During the mid-to-late 18th Century, composers came under the sway of the Sturm und
Drang movement (which was present in Hayden and some of Mozart’s work). Later on, in the
19th Century, the idea of the composer/artist as a hero became a common narrative. As
programmatic music became more popular, the use of literary narratives began to emerge.
The Tone Poem
Given that musical narrative associated with an external source is the essence of film
music, the most important genre of programmatic music to explore in this dissertation is the
“tone” or “symphonic poem.” In a different article, Mendl discusses the definition of a
symphonic poem:
“By ascribing the term ‘symphonic poem’ to an orchestral composition based on
any subject which also has an existence apart from music, we are employing a
very wide definition, though it is hard to see how we can narrow it down without
excluding such a work as Bax's ‘November Woods’, which relates to no definite
pictorial scene but is descriptive of any woods in late autumn, and yet is
undoubtedly a symphonic poem. The wideness of the definition admittedly
includes music which is simply expressive of generalized emotions, seeing that
the latter exist independently of music. There is, however, really no reason why
such a composition should not be called a symphonic poem, provided that its
24
structure is determined by the subject-matter rather than by the traditional forms
of musical art. The term would be applicable, for instance, to a work which is
given by its creator the title of ‘Anger’ or ‘Sorrow’ or ‘Love’ and is intended to
portray one of those emotions, and which, whether or not it possesses a thematic
unity, follows the dictates of its own subject- matter and, as it were, generates its
own structure, instead of adhering to one of the purely musical forms such as that
of the first movement of a sonata, or a fugue, or a theme and variations. It would
be illogical to withhold the title ‘symphonic poem’ from such a work, while
applying it to ‘November Woods’; for the only genuine distinction between them
is that the latter depicts a piece of the material world, whereas the composition
which we have visualized relates to the emotional sphere, and this difference
affords no ground for calling the one a symphonic poem and the other not.”48
As evidenced by Mendl’s description, symphonic poems and film scores rely mostly on
affective associations rather than formal structures. With the advent of talking pictures,
composers like Max Steiner (considered the “father of film music”) were heavily influenced by
the symphonic poem tradition of his godfather Richard Strauss.49 The affective associations
created by symphonic poem composers influenced film music so much that several film music
tropes find their roots in this musical form.
It is also important to recognize the clear influence of opera in film music, more
specifically through the use of leitmotif. This compositional tool is imperative in film music, as it
48
R. W. S. Mendl, “The Art of the Symphonic Poem,” The Musical Quarterly 18 (1932): 443–62.
49
Michael Long, Beautiful Monsters: Imagining the Classic in Musical Media (Berkeley: University of California
Press, 2008), 81.
25
guides us through the character’s journey and, on occasion, the deconstruction of the leitmotif
can signify an important narrative shift. Considering Wagner’s use of the leitmotif, and the
larger-than-life quality of his operas, it comes as no surprise that his music and use of this
technique influenced several film composers. In recent history, the film scores for The Lord Of
The Rings trilogy by Howard Shore not only emulated Wagner, but also heavily relied on the use
of leitmotifs to hold the narrative of the lengthy film epic together.
To explore this relationship, and dive into the use of affective association in
programmatic music, the following pages present an affect-driven analysis of two symphonic
poems: Franz Liszt’s Prometheus, and sections from Richard Strauss’ Also Sprach Zarathustra.
26
CHAPTER III: MUSICAL ANALYSIS
FRANZ LISZT - PROMETHEUS, SYMPHONIC POEM No.9, S.99
During his Weimar period, Liszt was working on an homage to literary figures such as
Goethe with his Faust Symphony, Schiller with the symphonic poem Die Ideale, and setting eight
choruses to Heder’s theatre work Der entfesselte Prometheus (Prometheus Unbound cantata).50
John Williamson writes, “the appeal of Herder’s play to Liszt almost certainly lay in its symbolic
richness […]. This gave him the opportunity for a series of choral movements moving between
‘suffering and apotheosis’, qualities that he singled out as the key to the figure of Prometheus in
his preface to the symphonic poem derived from the overture.”51 Liszt never published the
original version, and in a revision in 1855, the overture was re-imagined as the symphonic poem
known as Prometheus.
The ‘suffering and transfiguration’ narrative of Prometheus is very apparent in the way
Liszt treats its material. The father of the Symphonic Poem, Liszt utilized several motifs and
ideas from the choruses when creating the symphonic poem. In his doctoral thesis, Keith Thomas
Johns writes: “the Prometheus legend is reinterpreted by Liszt in terms of the suffering artist
figure, so popular in the 19th century, and suffering and salvation as a central doctrine of the
Roman Catholic Church.”52
50
Alan Walker et al., "Liszt, Franz." Grove Music Online. Oxford Music Online. Oxford University Press, accessed
April 20, 2016, http://www.oxfordmusiconline.com/subscriber/article/grove/music/48265pg15
51
John Williamson, “The Revision of Liszt's ‘Prometheus’,” Music & Letters 67 (1986): 381–90.
52
Keith Thomas Johns, “A Structural analysis of the relationship between programme, harmony and form in the
symphonic poems of Franz Liszt,” (PhD Diss., University of Wollongong, 1986), 10
27
The$Motives
$ Prometheus*utilizes four motives from the original choral work and one new motive as
affect agents to drive the narrative forward.
Motive 1 (M1): Malediction (Figure 2.1)
Taken from the cantata, a “Choir of the Okeanidai” calls forth curses upon Prometheus.
This motive is present in two different iterations in bars 4-6 (M1a) and 84-87 (M1b).53
Figure 2.1a: Franz Liszt. Prometheus, Symphonic Poem No.9, S.99
(piano reduction, mm.1-6)
Figure 2.1b: Franz Liszt. Prometheus, Symphonic Poem No.9, S.99
(score excerpt, mm.84-88)
Motive 2 (M2): Suffering/Struggle (Figure 2.2)
As is common in Liszt’s Suffering/Struggle54 motives, the use of a diminished seventh
and a chromatic melodic outline is present. We first hear a single developed iteration of the
53
Johns, “A Structural Analysis,” 107.
28
motive in the violins and violas at the end of the second section in mm. 22-25 (M2b), while the
first real presentation of the motive comes in mm.48-49 (M2a).
Figure 2.2: Prometheus, cont. (score excerpt, mm.48-49)
Motive 3 (M3): Lament (Figure 2.3)
Appearing in the third section of the cantata, this lament is sung by a contralto solo in the
“Choir of the Dryades.” Marked “to be declaimed with tragic pathos,” the tritone leap followed
by a chromatic line give the motive the quality of a lament. It first appears in mm.28-31 (M3).55
Figure 2.3: Prometheus, cont. (piano reduction, mm.28-37)
55
Johns, “A Structural analysis,” 108.
29
Motive 4 (M4): Faith and Redemption (Figure 2.4)
Shifting into a narrative of redemption, this motive is found in the seventh section of the
cantata, sung by the “Choir of the Invisibles.” The symphonic poem program for this section
reads: “an inalienable belief in a redeemer who will raise up the long tortured prisoner to the
super-terrestrial regions (…).”56 We first hear it in mm. 129-137 (M4).
Figure 2.4: Prometheus, cont. (score excerpt, mm.129-26)
Motive 5 (M5): Celebration of Humanity (Figure 2.5)
Found in the final section of the cantata, this motive is turned into a fugue subject in the
symphonic poem. It seems fitting that Liszt would utilize a fugue as a representation of the
celebration of humanity. Keith Thomas suggest the suggest the fugue represents “the human
spirit ‘striving for the loftiest goals’.”57 The fugue subject begins on the pickup to mm. 161-164
(M5s), and the countersubject starts on mm. 165-168 (M5cs).
56
57
Ibid.
30
Figure 2.5: Prometheus, cont. (score excerpt, 161-66)
Keith Thomas states that Prometheus “presents two contrasting ideas: i) the Sturm und
Drang [Suffering and Struggle] of motives one and two, and the lament of motive three; ii) the
contrasting ‘sweetness’ expressed in motive four and […] five.”58
Structure
Prometheus is structured in eleven sections. The seventh section starts a recapitulation of
previous sections, and the eleventh section is the CODA of the piece. Below is an analysis of
each section focusing on affective function (assigned by Liszt), which motives are used,
harmonic movements and narrative qualities.
In Chart 1, we can see the proportions of the sections and the use of different motives
throughout each section. The stripped sections represent where two or more motives appear
simultaneously or interact with each other. These sections have been color coded by combining
the colors assigned to the individual interacting motives.
58
Johns, “A Structural analysis,” 110-11.
31
Chart 1.
32
Section 1: mm.1-26
● Function: Introduction, Malediction

● Motives: M1 & M2
● Key: No clear tonal center in this section.
In Section 1a (mm.1-12), the use of the ‘malediction’ motive (M1) is similar to the one
used by Liszt in his piano concerto titled Malediction, S.121. Both pieces use the same chords,
with a pedal point moving from F (mm.1-16) to F# (mm.7-12). These first 12 bars have a
dominant quality and never resolve. Moving into Section 1b (mm.13-26), Liszt continues the
harmonic ambiguity by continuing an unresolved harmonic progression: Cm - Abm - Ab- C#m -
G#dim.7th chord.
Keith Thomas argues that this section, which functions as a harmonic anacrusis,
“constructs a typical Lisztian introduction with sequence and suspension of key center. The
suffering and struggle of the music is reflected in the chromatic harmony and the suspension
achieved by the use of the diminished-seventh chord as a key center. This suspension is not
resolved in the following section.”59
Section 2: mm.27-47
● Function: Lament
● Motives: M3
● Key: Implied A minor
The diminished quality of the M3 motive, and the diminished-seventh accompanying
harmonies in this section, give an unstable A minor feel. This perceived tonal center is
challenged by the second iteration of the melody, reinforced by the recurring G#dim.7th
(vii○7/Am) in the woodwinds, and later in the horns and trumpets.
59
33
The use of a melodic tritone in this section utilizes the trope that associates it as the
Devil’s interval, thus making the narrative to “abandon all hope.”
Section 3: mm.48-115
● Function: Struggle and Lament

● Motives: M2 (mm.48-77), M1 (mm.78-101), M2+M3 (mm.102-115)
● Key: Implied A minor
This section begins by continuing the relentless use of G#dim.7th (now with an E pedal in
the first bar of the section) and finally, on the second bar of the section, we hear a clear A minor
chord on the downbeat. However, the chord is presented on a weak measure in second inversion,
creating a weak resolution, and keeping the chaotic essence of the music going. M1a comes back
without transposition in the trombones at mm.78, and finally leads to M1b in a clear A minor 7th
in second inversion in the strings and bassoons. The section ends with a call and answer between
motives M2 (Suffering/Struggle) and M3 (Lament). In this section, Liszt creates musical
narrative through two devices:
1) Foreshadowing of M4 (Faith and Redemption) in mm.58 in the clarinets.

2) The falling line in the woodwinds and horns in mm.62, and the runs in the flutes
in mm.63 having similarities with the pick-up to the fugue subject.
● Function: Lament Transition (Ritornello)

● Motives: M3
● Key: Emphasis on vii○7/Db
This section serves as a transition to the Redemption section of the Symphonic Poem.
Utilizing material from the Lament motive (M3), and foreshadowing the Redemption motive
(M4) through similar contour and rhythm, Liszt prepares us for a section in contrast to the
harmonically unstable music heard so far.
34
● Function: Faith and Promise of Redemption

● Motives: M4
● Key:Db major
Finally releasing the harmonic tension Liszt arrives on Db major, but instead of starting on
the tonic chord, he begins the section on VI6 (mm.129), thus delaying arrival of the tonic and
transforming the previous section into a secondary dominant section. The oscillation of the
melody and harmony between IV6-V6 finally resolves to a much needed I in the second phrase of
the melody (mm.133). Using E major for some chromatic coloring through tonicization in the
last iteration of the melody, he prepares us for a perfect cadence into the fugue.
● Function: Fugue – Man striving for bigger goals and the need to create.
● Motives: M5
● Key: Db major (mm.160); A major (mm.206), String of V9 chords D-E-F#-E
(mm.214)
This section is the longest one in the piece. In it, Liszt presents the fugue subject in all the
sections of the strings. After fragmentation in mm.181, and false subject entrances, we get a
confident augmentation of the subject in mm.198 in the woodwinds and horns, accompanied by
the strings playing a fragmentation of the original subject.
In mm.206 Liszt inverts the roles of the orchestra during augmentation section (the
strings now play the subject, and the woodwinds the fragmentation of the subject). Followed by a
series of fragmentations in mm.214, a sequence of V9 chords leads to the well known diminished
qualities of M2, which comes back in mm.226.
This time in mm.225-236, preparing us for the ‘Recap,’ Liszt combines M1
(Malediction), M2 (Suffering/Struggle) and M5 (Celebration of Humanity) by using fragments of
35
each theme. Keeping M2 as the main motive of the section, thus emphasizing the struggle
narrative of the piece.
Sections 7-10: mm.237-384
● Function: Recapitulation Sections 1 (mm.237-249), 2 (mm.250-268), and 3

(mm.269-303), and 4+5 (mm.304-390)
● Motives: All motives.
This section is a recapitulation of the music from all the previous sections presented, in a
more exciting and dramatic way (except for Section 2, which maintains its recitativo quality).
Section 10 combines the motives M4 and M5, first presenting them separately, then combining
them by using fragmentation of both motives and culminating in an iteration of M1, interrupted
by M5, all to transition into the CODA.
● Function: CODA
● Motives: M1 and M5
● Key: Dominant progressions culminating in A major.
Utilizing the dichotomy between motives M1 (Malediction) and M5 (Celebration of
Humanity), the CODA brings the piece to a majestic conclusion. With a last iteration of M4 in
the brass overpowering the other motives, Liszt ends the piece with a glimmer of faith and
redemption
Like film music, tone poems rely on emotional cues conveyed through musical
associations to present a narrative. Without knowing the program of the piece or the original
motives, we can follow a narrative that depicts the struggle that is a common subject matter in
the Symphonic Poem. Liszt is able to guide the listener through this narrative by utilizing the
following musical devices:
36
- Tropes established by Liszt: by using the “Malediction” trope he established with
his piano concerto, Liszt relies on the motive to elicit a sense of urgency. The F#
tremolo pedal juxtaposed with the staccato presentation of the motive in E minor
present the narrative of conflict immediately by using this two contrasting elements.
- An ambiguous tonal center: by prolonging the use of diminished 7th chords and
delaying the arrival of a clear tonic for several minutes of music, we can feel the
struggle and tension embedded in the musical narrative of the piece. Liszt hints at key
areas but never lands on one until the Faith and Redemption section, which is the first
“positive” and more lyrical music we hear in the piece.
- By going back and forth between the sections of Struggle and Lament, Liszt helps
convey the dichotomy of the piece. Using the Lament section as a sort of ritornello
that links the Struggle section with the Redemption section.
The use of these musical devices to convey narrative without using traditional forms
(e.g., Sonata, Rondo, etc.), is similar to how film music utilizes tropes. As with Liszt, the idea of
the composer as a hero and the ultimate redemption of humankind was a trend amongst
symphonic poem composers. One of the most prominent pieces of the genre is Richard Strauss’
Also Sprach Zarathustra. A staple of the symphonic poem repertoire, the piece also portrays a
narrative of redemption and enlightenment of humankind.
37
RICHARD STRAUSS - ALSO SPRACH ZARATHUSTRA, Op.30
Though Liszt is the father of Symphonic Poems, Richard Strauss is considered one of the
most prominent composers of the genre. Based on Friedrich Nietzsche’s book of the same title,
Also Sprach Zarathustra is arguably Strauss’s best-known work. Recognizable as the musical
score for the opening of Stanley Kubrick’s film 2001: A Space Odyssey, the piece since has been
used in several films and sporting events ever since. Unlike other Symphonic Poems, the
narrative of Also Sprach Zarathustra is loosely related to the book. Charles Yuman notes:
“Strauss’s sensitivity to the distinction between and artwork’s public and
private dimensions needs to be borne in mind when confronting a work like Also
Sprach Zarathustra, which marked the ending of a lengthy and traumatic
emergence into artistic maturity.”60
Regardless of the subtitle of the piece, which states the work was ‘freely based’ on
Nietzsche’s work, Strauss often found himself denying composing “philosophical” music. He
explained:
“I meant rather to convey in music the idea of the evolution of the human
race from its origin, through the various phases of development, religious as well
as scientific, up to Nietzsche’s idea of the Übermensch. The whole symphonic
poem is intended as my homage to the genius of Nietzsche, which found its
greatest exemplification his book Also Sprach Zarathustra.”61
60
Charles Youmans, “The Private Intellectual Context of Richard Strauss’s ‘Also Sprach Zarathustra’,” 19th-
Century Music 22 (1998): 102.
61
Henry T Finck, Richard Strauss: The Man and His Works (Boston: Little, Brown and Company, 1917), 181.
38
The main narrative of the symphonic poem is the conflict between the way man lives in
society and the way man was naturally intended to live. To convey this narrative, Strauss assigns
the key areas of B and C to Man and Nature, respectively. In the vein of the Wagnerian leitmotif,
Strauss utilizes motives to portray different aspects of Man and Nature.
The Motives
Music critic Arthur Hahn prepared a guide for the piece under specifications from Strauss
himself. In this guide, Arthur Hahn identified seven different motifs.62
Motive 1 (M1): Nature (Figure 3.1)
First presented in the opening of the piece by the trumpet fanfare (mm.5). Joseph Arno
suggests that this motive “can be thought of both as a representation of nature itself and of Man’s
potential when he embraces his true nature and attains the status of Übermensch.63 The use of a
perfect fifth and a perfect fourth interval is reminiscent of the harmonic series and thereby
represents the natural order.”64
Figure 3.1
62
John Williamson, Also sprach Zarathustra (New York: Cambridge University Press, 1993), 2-3.
63
Ubermensch is the philosophical concept of the ideal human or “superman,” presented by Nietzsche.
64
Joseph L. Arno, “Zarathustra as Superman: Reading the Nietzschean Narrative in Also Sprach Zarathustra”
(Thesis, University of North Carolina, 2014), 32.
39
Motive 2 (M2): Longing (Figure 3.2)
This motive is the first music we hear after the opening of the piece. The motive first
appears fragmented in the bassoons, followed by the first full iteration in the low pizzicato
strings (mm.30), the motive leads into the Credo motive. The upward contour of the motive
represents Man’s longing for greatness. Man may reach his full potential and become the
Ubermensch by fulfilling his longing through the pursuit of religion.
Figure 3.2
Motive 3 (M3): Credo (Figure 3.3)
Figure 3.3
Motive 4 (M4): Religion (Figure 3.4)
As the response to the Longing motive, the Credo motive is presented in the muted horns
(mm.32) with the inscription “Credo in unum deum” written above the motive. Together with the
Religion motive, first heard in the violas (mm.35), these motives represent religious ideals and
are modeled after plainchant from the Liber Usualis and hymns from the Christian rite.
Figure 3.4
40
Motive 5 (M5): Life Urge (Figure 3.5)
Introduced in the cellos and basses under an iteration of the Religious motive (mm.95),
through its fast and exciting ascent, this motive represents Man striving to be independent
through creativity, and to achieve liberation.
Figure 3.5
Motive 6 (M6): Passion (Figure 3.6)
As evidenced by the name, this motive presented in the violins and horns (mm.115),
represents the enthusiasm and passions that make each person an individual. The dramatic
quality of the motive, through its chromatic passing tones and upward motion, is juxtaposed with
a development of the Life Urge motive (M5).
Figure 3.6
Motive 7 (M7): Virtue (Figure 3.7)
In contrast to the Passion motive, the Virtue motive is a representation of the values each
individual holds. We first hear the motive in the high strings and woodwinds (mm.131).
Figure 3.7
41
Motive 8 (M8): Disgust (Figure 3.8)
This motive represents Zarathustra’s disgust with the world as seen by Nietzsche. The
motive is first heard played by three trombones in unison (mm.150), breaking through the texture
of the Virtue motive, and interrupting the uplifting romanticism of the music.
Figure 3.8
Motive 9 (M9): Science (Figure 3.9)
The Science motive symbolizes Man’s use of science in an attempt to explain the world.
The motive begins similarly to the Nature motive and utilizes all twelve pitch classes. While not
a tone row, Strauss uses all twelve pitches with almost no repetitions while creating a triadic
chromatic movement. We first hear this motive in the low strings (mm.201); it develops by
imitation throughout the rest of the string section, and eventually the entire orchestra.
Figure 3.9
Motive 10 (M10): Dance Motive (Figure 3.10)
This is the last motive presented in the piece. The joyful dance quality of the motive,
represents Zarathustra’s joy at the possibility of what Man could become, if mankind reached its
full potential. Though the first real iteration of the motive is presented in triple meter (mm.528),
the first time we hear it is in 4/4 softly in the woodwinds (mm.251).
42
Figure 3.10
Structure
Using these motives, and deriving most of the harmonic language of the piece from the
motives themselves, Strauss creates a narrative that constantly focuses on the conflict between
Man and Nature. For the purposes of this dissertation, the focus will be on the first six sections of
the symphonic poem. The narrative/affective analysis of each section will include the title given
by Strauss, corresponding section in Nietzsche’s book, narrative function (including the chapter
and section of the book), motives used, and general key areas. In Chart 2 we see the proportions
of each section, the major key areas and the use of motives throughout.
Section 1: “Intro / Sunrise” (mm.1-21)
● Book section: “Prologue”

● Function: Zarathustra’s knowledge/sunrise
● Motives: M1
● Key: C
The opening of the piece is a representation of Zarathustra’s knowledge and light shining
on the world. This opening has become iconic thanks to the use of it in 2001: Space Odyssey,
and has become a trope in pop culture. The use of the nature motive is consistent with the
narrative presented by Strauss, and one that Kubrick stayed true to by opening his film with a
shot of the sun rising over earth. Using a major/minor mode shift during this section, Strauss
suggests the conflict that will become a constant theme in the narrative of the piece. This shift of
43
major to minor mode has become a trope of its own, often used for accentuating big moments in
Epic or Sci-fi films.
Section 2: “Von der Hinterweltern” (mm. 22-74)
● Book section: “Backworldsmen” (Part I, Ch. 3)

● Function: Man/Religion
● Motives: M2, M3, M4
● Key: B and Ab major
Immediately after the opening, Section 2 corresponds to removing oneself from the world
and being introspective about the nature of humanity. Strauss portrays the saint encountered by
Zarathustra as a backworldsman, because he chooses to remove himself from temptation in order
to praise God. Immediately after the conclusion of the fanfare the music abruptly changes to
pianissimo tremolo in the low strings, introducing the religion motive. This music portrays
religion as something created by Man as opposed to Nature. The religion motive is first
presented in Ab and then repeated in F, thus the music isn’t in Man’s key of B until the Longing
motive is presented in mm. 30.
The Longing motive is used throughout the work to portray Man longing for a greater
meaning. Interrupted by the Credo motive in the horns, the Longing motive disappears and
Strauss leads us into the main section of the Religion motive. The narrative of this section is
made clear by the use of an organ in the orchestration. This section begins in Ab major, but
tonicizes the keys of G, Eb, A, and E major. Rising to an intense climax the section leads into
“The Great Longing.”
Section 3: “Von der Großen Sehnsucht” (mm. 75-114)
● Book Section: “The Great Longing” (Part III, Ch. 58)

● Function: First evidence of conflict between man and nature
● Motives: M1, M2, M3, M4, M5
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● Key: B and C major happening simultaneously.
This is the first section to focus on the conflict that is present for the rest of the piece.
According to Nietzsche Man and Nature are incompatible. Section 3 connects two of the most
identifiable sections of the piece, and the corresponding chapter from Nietzsche consists of
Zarathustra addressing himself through introspection and reflection.65 Zarathustra talks about
how he has liberated his soul and achieved Übermensch. This section also speaks of Man longing
for the reconciliation of the life he has built through religion and Nature.
The section begins with the use of the Longing motive in B minor (Man’s key) in the
cellos and bassoons. As the melody is taken over by the violins and the violas, juxtaposed with
the English horn playing the nature motive in C major (mm.82). In m. 86, the organ plays a new
motive with the text “Magnificat,” this time referencing the prayer for Virgin Mary. Before the
motive is over, the horns enter with the Credo motive followed by the Religion motive. There is
constant use of bitonality throughout this section and, once the Life-force motive is introduced, a
constant harmonic ambiguity signifying the motive’s narrative association with creativity. Using
fragments of the Religion motive juxtaposed with the Life-force motive, Strauss travels through
several keys and militaristic iterations of the Nature motive in the trumpets, thus representing the
dominance of Nature over Religion. However, the Life-force motive (creativity) prevails in the
end.
Section 4: “Von den Freuden und Leidenschaften” (mm. 114-163)
● Book section: “Joys and Passions” (Part I, Ch. 5)

● Function: Individuality through actualization in nature
65
Kathleen Marie Higgins, Nietzsche’s Zarathustra (Lanham, MD: Lexington Books, 2010), 99.
45
● Key: C minor and Eb major
In contrast with the previous section, this section has a clear direction and depicts the
Nature of men. Joy and Passion are in contrast with Religion, and are the natural state of men.
This section relates closely to Nietzsche’s discussion about the importance of passions and
virtues in becoming an individual.
Arno points out that “Leitmotifs play a significant role in the development of meaning in
this section. While leitmotifs in Also Sprach Zarathustra represent ideas rather than characters,
the expression of leitmotifs and the motion between key areas contributes to the tone poem’s
meaning.”66 The Passion motive is first presented in the strings and horns in C minor and, with
accompanied by the Life-force motive in the low strings and winds, remains in C for most of the
first half of the section. The first phrase of virtue motive is in C minor, modulating to Eb major
for the second phrase, using a common-tone diminished-seventh chord in m. 136. This represents
the transformation of man through his passions and virtues. A string of secondary dominants in
m. 148 begins a transition back to C minor to end the section, and the introduction of the Disgust
motive in the trombones during this transition, represents the disgust that was aroused from the
passions resulted in virtue. Once in C minor, Strauss quickly modulates to reach B minor for the
next section. Note again, the juxtaposition of the Man vs. Nature / B vs. C key areas.
Section 5: “Das Grablied” (mm. 164- 201)
● Book section: “Grave Song” (Part II, Ch. 33)

● Function: Zarathustra’s viewing of his past in the world of men
● Motives: M2, M7, M7, M9
66
Williamson, “Zarathustra as Superman,” 46.
46
● Key: B and E
As a reaction to the previous section, the juxtaposition of the Longing motive, the Passion
motive and the transformation of the Virtue motive, “Das Grablied” ultimately represents Man’s
quest to become a higher being: the Übermensch.
This section begins in B minor in contrast with the Natural side of the Passions and
Virtues of the previous section primarily in C minor. Beginning with a soft dynamic and building
up to a transformation of the Virtue motive, Strauss finds brief reconciliation between Man and
Nature. This section acts as a reflection of the Passions and Virtues that lead man to seek
enlightenment.
Section 6: “Von der Wissenschaft” (mm. 201-286)
● Book section: “Science” (Part IV, Ch. 75)

● Function: Man’s attempts to control nature through science
● Key: C moving to B
This section is divided into two strikingly different subsections. The Science motive
begins the section as a fugue, slowly progressing from C to B in an attempt to connect the
conflicting key areas of Nature and Man. This contrasting section introduces a transformation of
the Dance motive, juxtaposed with the Longing motive, ending with a large section of faster
iterations of the Disgust motive.
Nietzsche’s section of the same name begins with a disagreement between Zarathustra
and a musician. Another character interjects:
“For fear—that is man’s original and fundamental feeling; through fear
everything is explained, original sin and original virtue. Through fear there grew
also my virtue, that is to say: Science. For fear of wild animals—that hath been
47
longest fostered in man, inclusive of the animal which he concealeth and feareth in
himself: —Zarathustra calleth it ‘the beast inside.’ Such prolonged ancient fear, at
least become subtle, spiritual and intellectual—at present, me thinketh, it is called
Science.”67
This passage is the basis for Strauss’s approach in this section. Science is the way that
men control the natural world around them. The beginning Fugue in the Science section, through
the use of C and B key areas, represents Nature and Men together at work. As he moves into the
second part of this section, Strauss uses the opening of the Science motive (which is the entire
Nature motive) to interject throughout the big section utilizing the Disgust motive. These
interruptions of the Nature motive could signify nature trying to break through.
67
Friedrich Nietzsche, Also Sprach Zarathustra, trans. by Thomas Common (New York: Modern Library, 1905),
340.
48
49
ANALYSIS CONCLUSION
Throughout the analysis of both pieces, it is evident is evident that both composers rely
on motives and the emotional cues created through harmony, form, style, and instrumentation, to
help convey the desired narrative. Though we might not be able to define them as tropes,
parallels between both pieces’ use of affective association and musical narrative can be found:
- The use of a fugue to convey man striving for enlightenment. The more sophisticated and
crafted form of the fugue is a representation of Mans ability to create through science.
The fugue in Prometheus utilizes a new motive as a fugue subject that has been
foreshadowed earlier in the piece and ends up interacting with the “Malediction” motive
and briefly triumphs over it. In Also Sprach Zarathustra Strauss chooses the Science
motive as the fugue subject and slowly pieces together a tutti through the different
entrances of the orchestra.
- Harmonic ambiguity to portray conflict. In Prometheus Liszt prolongs the use of a
diminished 7th chord to delay the arrival of a clear tonal center furthering the struggle
narrative of the piece; in Also Sprach Zarathustra Strauss utilizes the dichotomy between
the key areas of C and B to depict the conflict between Nature and Man respectively, as
seen in the first two sections of the piece.
- Stirring and chromatic melodic movement to convey the conflict and reconciliations
between contrasting emotions. In Liszt’s case the contrast between the arpeggiated strings
lacking any tonal center in the Struggle motif and the beautiful singing melody with a
clear tonic in the Redemption motif; in Strauss the Passions and Virtues motifs share
50
similar emotional string melodies, one moving upwards and the other one falling,
signifying a complementary quality between the two melodies and the two emotions.
Kubrick chose to keep the opening of Also Sprach Zarathustra, even though Alex
North had written a similar score. Strauss’s music became iconic, not only because of the
film, but because of the influence and narrative power embedded in the tradition of the
symphonic poem.
These two pieces present narratives that can be derived without knowing the composer’s
narrative source. By establishing a clear function to the motives paired with the treatment of
harmony and tonal centers, Liszt and Strauss guide the audience through the narrative. In both
cases the composers present full iterations of most of their motives early in the piece, and the
transformation and interaction of them create specific musical expectations. The opening section
of Strauss elicits a sense of expectation by introducing a low pedal, followed by a declamatory
melody trumpets missing the 3rd until it’s introduced in a quick modal shift by the tutti orchestra.
Similarly, the Life Urge motif on the cellos moves quickly upward to convey excitement and
reaching upwards. These expectations elicit specific emotional reactions from the audience
feeding off of pre-existing tropes and, in the case of Strauss, creating new ones. Programmatic
music, along with opera, became the precursors of film music and the source of many tropes.
Some imposed by the composers of these works, others by the narratives associated with them.
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CHAPTER IV: FILM MUSIC TROPES
THE “BIRTH” OF FILM MUSIC
With the commercialization of film, a new era of entertainment was born. Audiences
were accustomed to opera, musical theater, concerts and theatre productions that often included
musical accompaniment. Opera productions of Wagner, Verdi and Puccini had created an
expectation for spectacle and larger than life music, and as film developed the same scope of
entertainment was expected. It is no wonder that the natural progression of film music was
informed by the music heard in concert halls and opera houses around the world.
Early showings of silent film always included live musical accompaniment. The music
was improvised, and the musicians would have to create emotional ‘cues’ for the audience to
enhance the action on screen. Musicians were also tasked with improvising sound effects to
accompany the film, often using percussion instruments to do so. Later on musicians started to
incorporate pieces from the standard repertoire, and when feature length films became
commonplace, musicians, orchestras, or even studios themselves began to create film music cue
sheets. These sheets were lengthy, and included detailed notes about effects and moods that
needed to be addressed by the musicians. It wasn’t until later that the first film scores for silent
films were composed. Camille Saint-Saens’ score for the film The Assassination of the Duke of
Guise (Charles le Bargy, 1908) is one of the earliest film scores of this kind.
Considering silent film used music from the standard repertoire, film composers in the
early days of sound film infused their scores with the affective associations created by this
52
tradition. The influence of Richard Strauss and the symphonic poem in the Golden Era of film
music was especially evident. Early on, Austrian-born composers like Erich Korngold and Max
Steiner (godson of Richard Strauss) established much of the language of film music. Steiner’s
score to Gone With the Wind (Victor Fleming, 1939)68 and Korngold’s score to The Adventures
of Robin Hood (Michael Curtiz, 1938), have a Straussian symphonic poem quality, and both of
them rely on a Wagnerian use of leitmotifs to drive the narrative of the film forward.
Along with Alfred Newman, Miklos Rozsa, Franz Waxman, Bernard Herrmann, and
Dimitri Tiomkin, Steiner and Korngold are considered the fathers of film music. It is important
to note that many of the composers on this list, were either of German/Austrian heritage, or
trained in Germany. These composers authored many of tropes we identify today. Tiomkin, a
Russian-American composer trained in Russia, was the creator of the western film music sound
with scores for iconic films like High Noon (Fred Zinnemann, 1952); while Rozsa, a Hungarian
trained in Germany, influenced the tropes associated with the Middle-East, with his score for The
Thief of Bagdad (Alexander Korda, 1940).
As composers paired up with filmmakers, iconic visuals were accompanied by specific
music, often iconic itself. The greatest example of this is Bernard Herrmann’s relationship with
Alfred Hitchcock; their collaboration produced some of the most iconic tropes in film music.
From the strings only score to Psycho (Alfred Hitchcock, 1960) setting a new standard for
thriller scores, and giving us the “shower scene” trope (aggressive and dissonant high strings
signifying murder or danger), to the use of electronic instruments in The Birds (Hitchcock,
1963), Herrmann re-defined the way film music interacted with the film.
68
Hereafter, the names and dates in parenthesis following a film title are the director and year of release,
respectively.
53
Several of the tropes created by these composers still survive today; some have been
transformed, and others are still intact. However, the affective associations created by them,
through the images in the films they scored, conditioned their audience to identify those
associations so much that they have become part of the film music language.
MODERN FILM MUSIC & FILM MUSIC TROPES
“I resisted those kinds of chord progressions for years. I would hear them
in horror movies and I would hear them in Goldsmith and in John Williams. I still
hear them. But I resisted and resisted. It became self-deceiving in a way. I was in a
kind of denial about it, because audience, director, producers—everybody
watching the movie—has certain expectations.[. . . ] there is a sound to that
sequence that, when tied to an image, particularly when tied to a spectacular, ultra-
large image, is hard to resist. [. . . ]
We all know that sometimes clichés are the best way to go.
—James Newton Howard”69
It is with this quote that Ilario Meandri Sanchez70 begins his article on the use of film
music formulas. The conventions set forth by film music of the past have created a language
through which film composers interact with the audience. In the section on narrative, through
69
Michael Schelle, The Score: Interviews with Film Composers, (Beverly Hills, CA: Silman-James Press, 1999),
192–93.
70
Ilario Meandri Sanchez, “Around the Marvelous: Film Music Formulas from an Ethnomusicological
Perspective,” Music and the Moving Image 7 (2014): 34-75.
54
Gorbman, we discussed how whatever music is added to a scene it will elicit a response from the
audience. To get the desired response, composers often rely on the tropes immediately
recognizable by the audience. The idea that this could create dull or unimaginative music is a
common criticism of film music. Sanchez addresses this concern:
“Not only the dramatic intuition, but the entire production process that
brings insight to its full realization, is modular. In the very short time to produce the
soundtrack, starting from pre-spotting, intuition must be immediately and
synthetically pragmatic as part of the creative operation, otherwise the form will be
unachievable: ‘how do we achieve it’ and ‘what do we achieve’ are conjoined
aspects of the creative work and are already problems of meaning. The formula
[tropes] is not only proven dramaturgy, a code recognizable to spectators, but also a
proven modus operandi, a production process already known, a controlled form of
relationship between music and image, repeatable and, therefore, governable within
the times and production possibilities of a project.[...]
The role model that is imposed following the success of a film, the formula
passing from composer to composer, from genre to genre, from public to public—
from ear to ear—lives in an audio-visual and especially neo-oral dimension—a
channel certainly inherent in the ‘naturally’ aural and performing dimension of
music, and, yet, exasperated by a vocation to repetition that is first and foremost
ensured by its technical reproducibility.”71
71
Meandri Sanchez, “Around the Marvelous,” 50.
55
Similarly, temp scores—the temporary scores made up of pre-existing music—
drastically changed the way composers approach scoring a film. Through the temp score,
directors and music editors play an important role in actively deciding which conventions
and tropes will be used in the score. Some composers welcome the temp tracks, others
reject it. However, it is important to note the role this element of filmmaking has had in
perpetuating musical conventions that eventually become tropes. A notable example of this
is the use of Gustav Holst’s Suite The Planets, Op.32 as the temp score for Star Wars:
Episode IV (George Lucas, 1977), an influence heard in John Williams’ iconic score; and
in extreme cases (as previously discussed in the analysis of Strauss) the temp score became
the final score.
The different kinds of film music tropes
In the sections on affect and narrative, we explored how music acquires meaning through
the audience’s understanding of musical conventions. In film music tropes are the gateway to
this understanding, as the audience seldom listens to music actively while watching a film. It is
through the immediate associations tropes evoke that audiences attach meaning. Once an
affective association has been established, composers shape that trope to fit the specific narrative
and guide the audience through the film. By creating expectation—and sometimes breaking it—a
composer may elicit the desired emotional reaction from the audience.
Film music tropes often come from five main sources. Below we will explore these
sources and how they produce tropes.
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For his score to Jaws (Steven Spielberg, 1975), John Williams drew inspiration
from the last movement of Dvorak’s Symphony No.9 (Figure 4.1a) and The Rite of Spring
by Igor Stravinsky (Figure 4.1b). The film opens with a nighttime underwater shot.
Utilizing the trope of primal imminent danger elicited by the ballet, John Williams
composed an opening filled with polytonality and driven by the now iconic two-note
ostinato (Figure 4.1c). Resembling the “Dance of the Young Girls” in The Rite of Spring,
Williams kept the rhythmic ostinato in the strings and the dissonant brass interruptions
while a melodic line in the winds plays along, thus establishing a sense of danger. Once
Williams established this association, he was able to utilize the two-note motive present in
the low strings as a trope signifying imminent danger in different iterations throughout the
film.
Figure 4.1
a) Antonin Dvorak, Symphony No.9 Op.95 - Movement IV (reduction, mm.1-4)
b) Igor Stravinsky, The Rite of Spring - Dance of the Young Girls (reduction, mm.1-3)
57
c) John Williams, Jaws (1975) - Opening titles (reduction, mm.10-16)72
Given the low budget of the film, the shark only appears on screen for limited time; the
music was therefore responsible for representing the shark for most of the film. The use of this
trope became so iconic that, regardless of the strong similarities, it was no longer attached to
either Dvorak or Stravinsky and became a trope of its own: the Jaws trope.
The kind of film music trope in the example above is one that grows out of an iconic
association. As mentioned before, another example of this is the high strings in the shower scene
72
Fred Karlin & Rayburn Wright, On the Track: a guide to contemporary film scoring, 2nd edition (New York:
Routledge, 2004), 198.
58
from Psycho (1960). Other film music tropes are born out of tradition, attached to an innate
affective association. An example of this is the trope Sanchez refers to as “The Marvelous.” This
trope is “characterized by a [harmonic] relationship between major subdominant and minor
tonic.”73 Sanchez points out “symmetrically, the same passage [progression] could be read as a
relationship between a minor dominant and a major tonic.”74 (Figure 4.2a)
Figure 4.2: Alan Silvestri, The Abyss (James Cameron, 1989) - (reduction)
Sanchez believes that Alan Silvestri’s score to The Abyss (James Cameron, 1989), built
entirely around “the Marvelous” trope (which he calls ‘formula’), “is an excellent example of the
relationships that the formula maintains with respect to the dramatic structure of the film in a
classic three-act restorative form.”75 He explains that the film begins with the echo of a sonar,
and after a short main title, a boys’ choir presents the characteristic harmonic progression. After
a build-up, a full orchestra statement is presented as the title of the film appears on screen.
Sanchez believes that, from that moment on, “the story is no longer an event taking place in a
73
Meandri Sanchez, “Around the Marvelous,” 36
74
Ibid., 36-37.
75
Ibid., 37.
59
vacuum, but it builds up towards the events that the music, through its gnostic attitude, has
established as the narrative horizon of the movie.”76
Sanchez provides examples of the use of this trope as a narrative device in the film.
While explaining the harmonic language throughout the film, Sanchez points out that Silvestri
“transports the harmonic relationship in a series of modulations, an architecture in which his
signature is made fully recognizable. The adherence to the formula [trope]—which is an index of
the full linguistic maturity for the composer— never obliterates the composer’s signature.”77
In order to explain the versatility of this trope, Sanchez analyzes the connections between
“the Marvelous and the Terrible,” as a new trope “characterized by a series of new harmonic
relationships.”78 Looking at Lara Croft: The Cradle of Life (Jan de Bont, 2003), another score by
Alan Silvestri, Sanchez explores a scene where the heroine (Angelina Jolie) arrives at an
underwater cave where a treasure is hidden. Sanchez notes that the music prepares an iteration of
“the Marvelous,” yet it carefully avoids it, tending towards a different treatment: the relationship
between the G minor and the E minor triads, a minor tonic and the minor variant of “the
Marvelous” harmonic relationship. He suggests that this “relationship shows a subtle connection
with the harmonic-expressive resources of the Marvelous.”79
In the article, Sanchez goes on to explore the “Marvelous” trope in many of its different
iterations and the narrative function of each iteration of the trope. Other examples of scores that
76
Meandri Sanchez, “Around the Marvelous,” 37
77
Ibid., 39.
78
Ibid., 39-40
79
Ibid., 40.
60
use this motive are Batman (Tim Burton, 1989) by Danny Elfman, and Spider-Man III (Sam
Raimi, 2007) by Christopher Young.
So far we have looked at tropes that become such out of tradition or an iconic association.
However, most tropes come from the common use of a piece in the standard repertoire, which
has been referenced by many film composers. One of the most utilized pieces of music is the
orchestral programmatic work The Planets, Op. 32 by Gustav Holst. The larger than life quality
of this piece provides a valuable resource of film music tropes. It has been used, as previously
mentioned, as a temp score for several films. Some of the most iconic scores to have used this
piece as inspiration include John Williams’ score to Star Wars: Episode IV, and Hans Zimmer’s
score to Gladiator (Ridley Scott, 2000).
In the opening battle sequence from Gladiator, Hans Zimmer takes inspiration from a
section in the Mars movement. Zimmer does his own version of the chromatic brass passages in
Holst to represent the militaristic turmoil of war. Unlike Holst’s legato gestures in 5/4, Zimmer
re-articulates the chords. (Figures 4.3a and 4.3b)
Figure 4.3
a) Gustav Holst, The Planets, Op.32 - Mars, “The Bringer of War” (reduction, mm.45-49)
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b) Hans Zimmer, Gladiator (Ridley Scott, 2000) - The Battle (reduction)
The excerpt above is a recurring motive during the battle scenes in Gladiator. The
narrative of the original Holst, as a representation of war, has driven composers to utilize this
section of the piece as a trope itself. Another example can be found in Klaus Badelt’s score to
Pirates of the Caribbean: The Curse of the Black Pearl (Gore Verbinski, 2003).
Another trope of this kind is what I called the “Stacked Fourths” trope. The origin of this
trope is the piece Fanfare for the Common Man by Aaron Copland. The association of this piece
with American patriotism, space exploration, and the celebration of human achievements, has
become a well-known trope in popular culture. Used famously by Alexander Courage in the
main theme for the original Star Trek television series, this trope is one of the most easily
recognized affective cues in film music.
A fourth source of film music tropes is the associations created with a piece from the
standard repertoire. It must be noted that several of these tropes may also fit our previous
category. Famous examples of these tropes include:
● Giachino Rossini’s William Tell Overture, from the Opera William Tell: This piece has
had several associations. From the famous flute solo to represent dawn and nature waking
up, to the allegro section used as main theme for The Lone Ranger television series. Both
of these associations have been borrowed and emulated by film music, sometimes
62
comically and others as a trope to elicit the specific affective associations attached to
these pieces.
● Nikolai Rimsky-Korsakov’s Flight of the Bumblebee: Used as the main theme for The
Green Hornet television series, the chromatic stirring melody, colorful orchestration and
appropriate title, have made this piece a go-to inspiration and trope for music depicting
insects flying, crawling or swarming. A great example of how a composer utilized this
music as inspiration is John Williams’s score to Indiana Jones and the Kingdom of the
Crystal Skull (Steven Spielberg, 2008). In a sequence where fire ants crawl all over
several characters, John Williams emulates the chromatic and colorful qualities of the
Rimsky-Korsakov piece.
Finally, one of the richest sources for musical tropes are those defined by cultural
identity. These tropes may be defined by a folk music influence, a stylistic choice based on
geography or nationality, compositional styles based on historical period, or associations made
through any other cultural signifier. There are endless possibilities for folk elements to become
tropes, as they may include any given element we may associate with a specific culture or social
cue. Below are two examples of these tropes:
● Hans Zimmer, The Power of One (John G. Avildsen, 1992): This film tells the story of a
boy growing up in Africa during World War II. The film features a score mostly based on
African chants arranged by Lebo M and Hans Zimmer.
● James Horner, Titanic (James Cameron, 1997): The use of bagpipes, penny whistles,
Bodh-ran and fiddle, and the use of melodies inspired by Irish folk music, gave this score
a clear narrative and cultural association. However, any of these choices could be seen as
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an ethnic trope. Howards Shore’s use of a penny whistle, combined with a tune inspired
by folk music, as “the Shire” theme in The Lord of the Rings: The Fellowship of the Ring
(Peter Jackson, 2001), is one of the most iconic uses of this specific trope.
We must note that while many of the tropes found in film music find their origin in these
five sources, it is impossible to track the origin of every single trope this way. Composers
ultimately rely on their instinct and their knowledge of film music in particular, and music in
general. The affective associations embedded in tropes are shaped and transformed by each film,
by each composer, and by each re-imagining of them. Just as Liszt and Strauss relied on
harmonic change, leitmotifs and conventions they established in the narrative of their pieces, film
music relies on tropes to elicit affect and enhance the narrative.
Cataloguing film music Tropes
Through the course of this document, I have presented seven parameters to define tropes.
The first level is the type of trope, and the second level its origin:
● Level 1: Nature
○ Innate.
○ Learned.
● Level 2: Origin
○ From iconic association: Iconic film music that creates a clear association (e.g.
Jaws, Psycho)
○ From tradition: Tropes commonly used throughout film music.
○ From common reference: Tropes that come from pieces from the standard
repertoire used as reference.
○ From direct quotes: Affective associations attached by film to pieces from the
standard repertoire
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○ From cultural identity: Tropes that come from folk music and music symbolic of a
culture.
Moving forward, cataloguing tropes based on these parameters is only the first step, as
crossovers exists and tropes can contain several of these parameters. However, a detailed
catalogue notes the characteristics of a trope, and the affective associations attached to it. These
parameters are the important details composers use to decided whether or not a trope will elicit
the appropriate affective response.
In the Appendix of this dissertation, a comprehensive list of film music tropes can be
found. This list contains only but a few of hundreds of tropes utilized in film music. Due to the
constant output of film music, the evolution of the industry, and the affective associations
recently explored or yet to be explored, a catalogue of tropes is ever expanding. Once a new
iconic sound or score is presented to the public, its success often drives other composers to
emulate it, creating new tropes that may define a period of several years in film music. While
these tropes may be popular in their original form for a few years, they are often transformed and
re-imagined to become part of the language.
Music heard in theatrical trailers of upcoming films is often a good reference of popular
tropes during the previous years. Theatrical trailers must elicit a strong emotional response from
the audience in a few seconds, so they rely on the contemporary associations created by each
genre of film in recent years. Unlike the score for a film, a theatrical trailer can’t afford the time
to establish and develop a unique narrative. In 2016, it is common to sit in the theater and hear
more than one trailer for a thriller, action, fantasy, science fiction, or adventure movie, filled with
the “horns of doom” trope (i.e., low brass pedal tones played loudly in long or medium length
65
not values). The “horns of doom” first appeared in Hans Zimmer iconic Inception (Christopher
Nolan, 2010) score.
A trope may use one or several musical devices to create a specific association. In some
cases utilizing one or two of them can recall the association. The most common musical devices
used are:
● Orchestration
● Harmony
● Melodic contour
● Voicing
● Interval relationship
● Rhythm
The affective associations attached to tropes, as with images, aren’t always singular and
can be manipulated—a solo trumpet playing a soulful military tune legato and softly, vs. the
same tune played loudly with every note re-articulated, elicit a military association with different
affective responses. Similarly, tropes can travel between film genres.
Considering all of these different aspects, the presented catalogue is structured by listing
tropes on the following levels:
● Level 1: Origin of the trope (as seen in the list at the beginning of this section).
● Level 2: Musical devices used.
● Level 3: Genre.
The catalogue will contain in different columns the following parameters: affective
association, description, genre crossover, and other musical devices.
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CHAPTER V: SILVERADO, A FILM MUSIC AFFECTIVE ANALYSIS
For the final chapter of this dissertation, I present an analysis of Bruce Broughton’s score
to the iconic film Silverado (Lawrence Kasdan, 1985). Focusing on the opening scene of the
film, this analysis will track the use of different tropes throughout the cue, and provides
examples of other films using each trope presented.
As an iconic piece of the western film genre, the score of Silverado makes use of several
tropes to fit the iconic musical sound of the genre. The structures of the themes, and much of the
score, have a very heroic quality to it. The adventure theme of the film utilizes several tropes of
both the western, and hero genres. (Figure 5.1)
The opening of the adventure theme (Figure 5.1a), rarely found on it’s own in the score,
makes use of the “Heroic/Noble Horn Call” trope. This trope is characterized by the use of horns
playing a repetitive line, structured around quartal/quintal harmony, and a declamatory quality.
One of the most iconic examples of this trope is the use of it in the opening bars of every Star
Wars soundtrack. The majestic and heroic quality of this trope helps the audience immediately
recognize a sense of adventure and heroism. In Silverado, Bruce Broughton reserves it for scenes
where the heroes ride out on a mission galloping against majestic landscapes.
Throughout the film, the “Hero Theme” trope is the single most used musical signifier.
(Figure 5.1b) Early in the film, Broughton establishes the heroic notes of the narrative by using
this trope. Used to represent a hero, this trope is characterized by a march like quality performed
by brass instruments and the use of perfect fifths/fourths as the main intervallic relationships.
With the advent of superhero films in the last decade, the use of this has become one of the most
67
utilized tropes. Alan Silvestri’s main theme for Captain America: The First Avenger (Joe
Johnston, 2011) is a great example of other uses of this trope.
As is common in heroic main themes, the secondary theme in Silverado uses the “Hero
Romance” trope. (Figure 5.1c) In contrast with the “Hero Theme,” it is characterized by a more
lyrical quality, using step-wise motion rather than perfect fifths and fourths as the core of the
melodic movement. Outlining interval relationships of sixths, this trope is often played by the
string section. The secondary theme, as a romantic/lyrical side of the hero, is a trope found
throughout different genres of film. In the alien invasion film Independence Day (Roland
Emmerich, 1996), David Arnold utilizes this trope to show a softer and more emotional side of
the main heroic character, only to reveal in the closing credits that this is the secondary theme of
the hero’s main theme.
“The Cowboy March” trope is probably one of the most recognizable tropes in the
western genre. As we can see in Bruce Broughton’s treatment of it in Silverado, the use of
syncopated rhythms and a fully harmonized melody, performed by a divisi brass choir, are
characteristics that help us make the classic western association. Usually accompanied by a
rhythm guitar, or some percussion, this trope can be found in scores like Randy Newman’s Toy
Story (John Lasseter, 1995), and Ennio Morricone’s score for The Good, the Bad and the Ugly
(Sergio Leone, 1967). Morricone’s score not only utilized well known tropes, but created a few
of it’s own like the iconic “Western Whistle.”
68
Figure 5.1
69
Contrasting the heroic Main theme, Broughton introduces the settlers theme. Used to
represent the gentle-heartedness of the settlers, this theme taps into tropes born out of cultural
identity. The theme has a simple ABA structure, and utilizes early American-style harmony,
reminiscent of a hymn. (Figure 5.2) Though not using any specific tropes, the identifiable folk
characteristics of the music function as a trope, and the rhythm, articulation, and lyrical qualities
of the melody, tie it together with the “Hero romance” melody of the main theme. The stepwise
motion, arpeggiation of chords, and constant rising and falling contour of the melody help define
the song-like quality of this theme. Another great example of this is found in John Williams’
score to The Patriot (Roland Emmerich, 2001) where the use of folk style melodies, help create
associations with the country life during the period of the American Revolution.
Figure 5.2
Next we explore how Bruce Broughton used tropes and his motives in the opening scene
of the film.
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ANALYSIS: Main Title
The film opens with the camera panning inside a dark cabin; we see boots, a saddle, a
kettle, and a gun in its holster. We see the back of a man lying on his side, suddenly, a man
bursts in gun in hand, and the unidentified man sits up and shoots him. This is Emmett, one of
our heroes. As shots continue to come from unidentified sources outside the cabin, Emmett
shoots, killing the perpetuators. After the last man falls through the roof, Emmett stands up and
we hear the first notes of music. Utilizing the “Ominous Piano Arpeggio” trope80 (characterized
by a rising dissonant piano), a rivet cymbal and establishing a low pedal, Broughton maintains a
sense of unknown danger. At this point Emmett is unaware if there are any more shooters, or
what is outside of the cabin. The melody presented in the horns and tuba, with its dissonant triton
outline and low register, utilizes the “Villain Theme” trope.81 (Figure 5.3)
When Emmett opens the door the opening piano and low brass gestures are repeated, and
as the camera lens moves outside, the nobler sound of a “horn call” in mm.6 releases the tension.
With a hard hit82 on the opening title, we hear the main “Hero Theme” in the trumpets. This
presentation of the theme is also reminiscent of the military trumpet calls. Now that the
dissonance has cleared up in favor of the Eb pedal, this intimate presentation of the theme
functions as an introductory section to the actual theme. For the second phrase of the theme,
Broughton incorporates a call and response amongst the brass, followed by the “Hollywood
80
e.g., John Williams’ score for E.T. The Extra-terrestrial (Steven Spielberg, 1982); and Jerry Goldsmith’s score for
The Omen (Richard Donner, 1976)
81
e.g., John Williams’ score for Close Encounters of the Third Kind (Steven Spielberg, 1977); and Jerry
Goldsmith’s score for Alien (Ridley Scott, 1976)
82
When a musical cue and an image on the film happen at the exact same time.
71
Run” trope (a fast run into a sustained high note) in the strings. When Emmett looks at the brand
on the horses of the men sent to kill him, the F# bass interruptions under the Eb-Bb-F harmony
signal a sense of suspense.
With a big snare drum roll, and a brass swell, as the visuals cut to a wide shot of the
majestic landscape, the main theme in its full heroic force is heard in the entire orchestra in C
major. To add the affective association of cowboys to this otherwise heroic theme, Broughton
utilizes the iconic “Cowboy Strum” trope in this section. This trope is a syncopated guitar strum
under a main melody, and has become associated with “cowboy music.” (Figure 5.4)
Figure 5.3: 1M1 “Main title” (score excerpt / reduction, mm1-10)
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Figure 5.4: 1M1, cont. (score excerpt, mm.18-29)
As the landscape shots and visuals of Emmett continue, the music becomes increasingly
influenced by “wild west” film music tropes. When we see Emmett crossing a river, the score
introduces an exciting string line playing the “Hoedown Strings” trope. (Figure 5.5) I assigned
this trope its name due to its use by Aaron Copland.83 Known for the fiddle like quality of this
trope, the quintessential cowboy music style becomes more evident as it leads into the “Cowboy
March” trope when we see Emmett riding up a mountainside.
A new iteration of the “Hero Theme” combined with the “Hoedown Strings” is presented
and, on a wide shot Emmett riding during Sundown, the secondary “Hero Romance” motive is
presented. The lyrical nature of this motive, combined with the thinner orchestration is a more
relaxed representation of the sun setting, and the excitement of the day coming to an end. The
second phrase of the “Hero Romance” motive is presented intimately on oboe and bass clarinet.
This second phrase is in a minor mode (the first time we hear music in minor mode) representing
intimate loneliness, as we see Emmett sitting alone by the campfire. Before the end of this shot, a
12-string guitar plays a country style phrase.
83
Heard in Aaron Copland’s Hoe Down, from Rodeo. Other examples include the score for The Cowboys (Mark
Rydell, 1972), by John Williams.
73
Figure 5.5: 1M1, cont. (reduction, mm.26-31)
When the image dissolves into Emmett riding at dawn, the last full-fledged iteration of
the “Hero theme” and “Hero Romance” motives appear. The heroic cowboy music ends, and we
see a body in the distance. To accentuate this visual, the first transformation of the “hero theme”
motive is presented softly in the Eb Clarinet. Above a three-note cluster in the winds, sustained
violin harmonics, a buzz marimba,84 and repeated soft interruptions on the flute; the different
transformations of the motive accentuate the action on the screen. The music continues with this
inquisitive quality. Once the camera finishes panning over the body, it is revealed this is Paden
(another one of the heroes in the film). When the pan stops on Paden’s face, the “Hero Theme”
motive is heard transformed in the low flute. By using a transformation of this motive,
Broughton hints that this man may be a hero, but who he is and if he is alive is uncertain.
(Figure 5.6)
Figure 5.6: 1M1, cont. (reduction, mm.77-92)
84
The buzz marimba is an African instrument similar in build and sound to the marimba, but producing a buzzing
sound. A demonstration of the instrument can be found here: https://www.youtube.com/watch?v=FX_0sucRcY8
74
When Emmett approaches and examines the body, the music is filled with tritones and
dissonant harmonies, clouded in harmonic and melodic ambiguity. As Emmett offers water to
Paden, the harmonic ambiguity resolves into a quartal harmony over Bb, and as Paden drinks we
hear the “Hero Theme” motive softly in the guitar, signaling that this is indeed one of the film’s
heroes. As the motive ends, the camera cuts back to Emmett then back to Paden, and as he
speaks under his breath, the music suddenly becomes wondrous. This is a trope commonly used
in fantasy movies to create suspense during a magical moment. (Figure 5.7) The “Wondrous”
trope85 is characterized by the use of bell-like percussion, soft held strings, and sometimes
woodwinds, with an altered chord like the chord used by Broughton: F# major 7th with an added
4th. In this case, we could say the suspense is Paden being alive,
After Paden introduces himself, the camera cuts back to Emmett who smiles while the
French horns play the “Hero theme” a one last time. A warm bed of trombones accompanies this
last iteration of the motive on Bb, and the scene fades out. (Figure 5.7)
Figure 5.7: 1M1, cont. (score excerpt / reduction, mm.105-11)
85
E.g., John Williams’ score to The B.F.G. (Steven Spielberg, 2016); Alan Silvestri’s score to The Mummy Returns
(Stephen Sommers, 2001)
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Throughout this film, Bruce Broughton makes use of several known tropes while
maintaining his unique voice. Using harmony, colorful orchestration and motivic development,
this score is one of the most iconic film scores of the Western genre. In comparison to John
Williams’s interpretation of the “Dance of the Young Girls” trope from Stravinsky, Broughton
utilized the piece and expanded the orchestration and relationship to the motivic material he
established earlier in the film. This scene is an attack on a party by the villains of the film, thus
using the trope in the same context of imminent danger used by John Williams. The cue is
appropriately named “Party Crashers,” and goes on to develop into an aggressive, string driven
action sequence. (Figure 5.8)
Figure 5.8: 8M2 “Party Crashers” (score excerpt / reduction, mm.1-10)
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In the score reduction above, we notice the influence of Stravinsky, however the use of
guitars, guiro, faster tempo and the softer dynamic differ. The quick departure from the trope
demonstrates that, once the affective association is made, the music can stir away from it.
ANALYSIS CONCLUSION
Just as seen in the analysis of programmatic music, the use of motives in a film score is
an important factor in propelling the narrative forward. In Silverado, Bruce Broughton’s use of
tropes associated with the western genre is to be expected for the audience to make the
connection to the classic westerns of Hollywood’s Golden Age. However, Broughton’s
orchestration choices, juxtaposed with a heroic theme as well as the incorporation of elements
associated with other film genres produces a score that effectively conveys the narrative of the
film.
As learned through Gorbman, the music in the opening sequence, through its use of
tropes and motives, functions as a narrative device on different levels:
1) The opening and closing bars play on the character’s (Emmett) emotions.
2) The “Hero theme” trope informs the audience about the “character” of the film.
3) The “Hoedown strings,” the “Cowboy March,” and the use of guitars, inform the
audience about the cultural identity and genre of the film.
4) The transformation of the “Hero theme” at the end of the sequence, and the music
surrounding it, play the characters emotions, translate the subtext of the scene, and
informs the audience about the identity of a new character.
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The music in this this film, while recalling and utilizing several tropes of the Golden Age
of film music, is successful at utilizing those elements to create narrative through music, both in
consort with the film and on its own.
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CONCLUSION
For many years film music has been in limbo, somewhere between ‘commercial’ music
and ‘proper’ concert music. The claim: the recognizable musical devices used in film music, can
often be traced back to pieces from the standard repertoire, therefore, film music composers are
only copying rather than being original or sophisticated. However, throughout the dissertation we
learned that music could be an imitation of emotions, or an abstract representation of the world
around us, of actions, characters and behaviors. Music can have different narrative functions, and
relies on affect to elicit an emotional reaction to that narrative. The way music creates affect is
through association, be it through a musical narrative, an extra-musical narrative, or the nature of
the musical gestures alone.
Musical traditions and composing techniques have been passed down for generations, and
with them, so have the affective associations attached to those traditions. When looking at Liszt,
Strauss, Williams, and Broughton, we can see musical traditions embedded in their music. Those
traditions result in the creation of musical tropes, and as we saw, they are important musical
devices utilized by composers to connect with their audience.
The tropes found in film music, passed down by generations of film composers—who in
turn received their tropes from the composers of the past, are an integral part of the success of a
film score. They help guide the audience through the narrative of the film, and persuade them to
accept the emotions the film intends to arouse in them. As seen in the last example from
Silverado, and the opening music from Jaws, while these tropes elicit an affective response, it is
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up to the composer to transform, combine, and craft them into his own language so he can
successfully affect the audience.
With the advent of film music concerts and screenings of films with life orchestra
performed by top tier orchestras, the legacy of past composers found in film music through
tropes should be celebrated and studied, as it becomes a more integral part of our society. Two
examples of film score cues modeled after “The Dance of The Young Girls” —a piece that
caused a riot during its premiere—were presented, and one of them went on to become an iconic
piece of music and pop culture. Could it be possible film music, by creating associations between
music and affect, helps the audience understand contemporary concert music? Due to the nature
of film music, many people will first discover new genres and styles of music while sitting in a
movie theatre.
This dissertation only studies a small fragment of this rich subject. Further study of film
music could include tracking the origin of different tropes or an in-depth analysis of how film
composers shape and transform them.
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APPENDIX
FILM MUSIC TROPES CATALOGUE
Due to the ever-growing amount of film music tropes, the following pages list
some of the tropes commonly found in film music based on the parameters established in
Chapter IV. Tropes that come from cultural associations will not be listed. The use of folk and
ethnic elements is too broad, and the affective association is easily recognizable. For the same
reason, tropes referencing pieces from the standard repertoire won’t be listed. The examples list
the approximate minute in the film or episode where the trope happens. It most be noted that
tropes apply to both live action and animated films.
Tropes from Tradition
Trope Description Musical Genre Affective Examples

Device Association
Battle of the The use of Rhythm. Action, Excitement, - Gladiator
meter compound Adventure, danger, war, (2001): 91’
meters like Thriller, Epic constant tension. - Captain
12/8,9/8,6/8,7/8 and Science America:
for battle music. Fiction. Civil War
(2016): 50’
Comedic Sequential Harmony. Comedy, Something - Wile E.
Chromatic Major chords Fantasy and dropping from a Coyote and
Drop transforming to Adventure far distance. The Road
diminished or Runner
augmented (Animated
chords by step series):
and a dropping Several
3rd. episodes
- Inside Out
(2015): 42’
Cowboy March Use of Orchestration, Western. Cowboys, - Silverado
syncopated rhythm and westerns, (1985): 03’
rhythms and a melodic adventure, - Toy Story 3
fully contour. horseback riding (2010): 01’
harmonized and the Wild
melody, West.
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performed by
divisi brass
Cowboy Strum A syncopated Orchestration Western, Countryside, - How the West
guitar and rhythm. Period and horseback Was Won
strumming Adventure riding, (1962): Main
under a main association to Title
melody. the Wild West. - The High
Chaparral
(1967): Main
Title
Dream Harp The use of Orchestration Fantasy, Dreaming and - Harry Potter
Whole tone and harmony. Children and magic. and The
Harp arpeggios Comedy. Sorcerer’s
and glissandos. Stone (2001):
114’
- Hook (1991):
97’
Drums of War Big percussion Orchestration Action, Period, Excitement, war, - The Mummy
sections, and rhythm. Adventure, traveling, Returns
utilizing both Epic and tension, fighting (2001): 33’
common Science Fiction and to - Avatar
western symbolize (2009): 135’
instruments and primitive
many ethnic cultures.
ones. The
rhythms are
often Latin or
middle eastern
in nature.
Flying Fast Orchestration Action, Epic, Excitement, - Superman
Winds/Strings woodwind/string and melodic Fantasy, adventure, (1978):
runs that act as contour. Western, flying and Opening
fillers in Science Fiction travel. Titles
between the and Adventure - Peter Pan
long notes of a (2003): 21’
'heroic' or
fantasy melody.
They keep
propelling the
melody and
action forward.
Hero Harmony Major keys Harmony. Action, Epic, Heroism, action, - Spiderman
utilizing third Fantasy, adventure, (2002): Main
relations, and Western, warrior qualities Title
borrowed major Science Fiction and hope. - Captain
chords to create and Adventure. America: The
a sense of First
unparalleled Avenger
heroism. (2011): Main
Title
- Ant-Man
(2015): Main
Title
82
Hero Romance The secondary Melodic Action, Epic, Romance, - Star Wars: A
theme in a contour. Fantasy, warmth, New Hope
heroic or epic Western, intimacy, (1977): 32’
theme, often Science Fiction familiarity and - Eragon
played by string and Adventure. approachability. (2006): 91’
and using the
more romantic
6ths intervals. It
has a more
slurred quality.
Hero Theme Played by the Orchestration Action, Epic, Heroism, action, - Star Wars: A
brass, using and melodic Fantasy, adventure, New Hope
perfect intervals contour. Western, warrior qualities (1977): Main
(5ths and 4ths) Science Fiction and hope. Title.
on the and Adventure - Back to the
downbeats, with Future
dotted rhythms. (1986): Main
Title
Heroic/Noble Characterized Orchestration Action, Period, Royalty, knight - The Lord of
Horn Call by the use of and melodic Epic, Fantasy, in shining The Rings
horns playing a contour. Western, armor, noble Trilogy
repetitive line, Science Fiction intentions, hope (2001):
structured and Adventure and cultural Gondor
around references. Theme
quartal/quintal - Troy (2004):
harmony, and a 36’
declamatory
quality.
Hollywood This is a fast Orchestration Fantasy, Joy and - Moulin
Run scale, which and melodic Western, openness. It is Rouge
ends on a single contour. Science Fiction reminiscent of (2001): 20’
high held note, and Adventure. the Golden Age - The Artist
played by Hollywood (2011): 1’
strings, scores.
woodwinds, or
both.
Ominous Piano Characterized Orchestration, All. Danger, - Silverado
Arpeggio by an harmony and suspense, (1985): 01’
arpeggiated melodic ominous - The Omen
dissonant chord contour. presence, the (1976): 44’
played by the unknown and
piano. The last horror.
note held and
allowed to ring.
Power Strings Strings playing Rhythm, Action, Excitement, - Transformers
ostinato power Orchestration Science Fiction battle, traveling, (2007): 120’
chords in and Harmony and Adventure. heroic - Oblivion
parallel motion endeavours. (2013): 109’
Rock out Brass Brass section Orchestration. Action, Excitement, - The Dark
playing held Science Fiction battle and heroic Knight Rises
chords over and Adventure. endeavours. (2012): 23’
83
ostinato strings - Iron Man 3
or electric guitar (2015): 95’
power chords.
They emphasise
the downbeat.
Rock out i-III-bVII Harmony. Action, Excitement, - The Day

Chords harmonic Science Fiction impending After
progression. It and Adventure. action and Tomorrow
emphasises the traveling. (2004): 115’
tonic. - 2012 (2012):
110’
The angelic A melody Orchestration Fantasy, Angels, - The Lord of

soprano. leaping a sixth and melodic Drama, mysticism, The Rings:
up to the higher contour. Science Fiction magic, intimacy The Return
register of the and Adventure. or innocence. of the Kings
choir. The (2003):
melody then - Maleficent
comes down by (2014): 07’
step in the
opposite
direction, or to
the original
pitch.
The High and To end a phrase Orchestration, Comedy. End of a scene, - Wile E.
Low in a comedic register and comedy, falling, Coyote and
scene, a high melodic succeeding. The Road
woodwinds contour. Runner
grace note(s) to (Animated
a short note, series):
followed by a Several
low short note. Episodes
- Rango
(2011): 32’
The Hope A suspension Orchestration All. Hope, emotional - A beautiful
Suspension played in the and harmony. tension, Mind (2001):
horns, usually a emotional 23’
b9-8 or b6-5 climax and - Interstellar
suspension as a resolution. (2014): 115’
counter melody
to bring tension
in a climactic
scene, repeated
a few times with
the final one
resolving at the
moment of
release.
The Marvelous Harmonic Harmony Fantasy, Mystery, - The Abyss
relationship Drama, marvel, wonder, (1989): 139’
between major Science Fiction the unknown - Independence
VI and i and Adventure. and mysticism. Day (1996):
84
23’
The Mystery In a minor key Harmony. All. The unknown, - Star Wars: A
the harmonic magic, New Hope
tritone uneasiness, (1977): 32’
relationship of i- wonder and - Harry Potter
#iv-i, is played other and the
over a tonic worldliness. Chamber of
pedal in a minor Secrets
key (2002): 112’
The Smooth- A trombone Orchestration, Comedy. To convey a - Wile E.
bone using a wah-wah rhythm and sense of smooth Coyote and
mute and melodic confidence and The Road
swinging 8th contour. charm in a Runner
notes, often cartoonish (Animated
bringing out the character. series)
7th of the chord - Rango
(2011)
The Wondrous Characterized Orchestration, Fantasy, Magic, wonder, - Back to the
by the use of harmony and Science suspense, the Future
bell-like texture. Fiction, unknown. (1985): 07’
percussion, soft Animation and - The B.F.G.
held strings, and Adventure. (2016): 03’
sometimes
woodwinds,
with an altered
chord like F#
major 7th with an
added 4th
Villain Theme A melody Melodic Fantasy, Evil, darkness, - E.T. the
played in a low contour, Action, Epic, anger, danger, Extra-
register register and Science Fiction uneasiness and Terrestrial
instrument orchestration. and Adventure. tension. (1982): 01’
(usually the low - Star Wars:
brass), with a The Force
melodic contour Awakens
that outlines the (2015): 05’
tritone.
Tropes from Common Reference
Arpeggiator Arpeggiated Rhythm and Science fiction. Futuristic - Oblivion

ostinatos Orchestration societies, space (2013): 24’
played by travel, alternate - Tron: Legacy
electronic reality. (2010): 63’
instruments.
Use electronic
dance music as
reference.
Fanfare for the Variations of Orchestration, Adventure, Space - Star Trek
Common Man the trumpet Melodic Western, Epic, exploration, (1966): Main
calls in perfect contour. Action, heroism, noble Theme
intervals in Science Fiction causes, military - Independence
85
Aaron and Period intent and Day (1996):
Copland’s hope. 84’
Fanfare for the
common man
Heart beat Referencing Rhythm. All. Danger, - Pearl
motif Tchaikovsky’s suspense, Harbor
Symphony death, (2001): 93’
No.6, this trope emotional pain, - Inception
borrows that excitement. (2010): 31’
rhythm and is
usually played
by percussion,
low strings or
electronics.
Hoe Down Named after Orchestration, Western. Cowboys, - Silverado
Strings Aaron Melodic country life (1985): 3’
Copland’s Hoe contour, and and horseback - The Cowboys
Down, this rhythm. riding. (1972): Main
trope is Title
characterized
by a string
section playing
fast 16th note
passages in the
style of country
fiddle.
Mars Effect Composers Harmony, Adventure, War, battles, - Star Wars: A
utilize a Orchestration Action, danger, New Hope
variation on the and Rhythm. Fantasy, empires and (1977): 3’
chromatic Western, Epic oppressing - Gladiator
harmony, and Period. ruling. (2000): 6’
orchestration - Eragon
and character (2006): 85’
of the
secondary
theme from
Holst’s “Mars”
Ostinato Piano Referencing Rhythm, Drama, Sadness, - A Beautiful
Philip Glass, Harmony and Science Scientific Mind (2001):
the ostinato Orchestration Fiction, discovery, 22’
piano is an Suspense and intelligence, - The hours
ostinato Thriller. Otherness. (2002): 15’
repetition of a
slowly
changing
motif.
The Rite of Many musical Harmony, Science fiction, Danger, - Indiana
Spring devices, and Orchestration, thriller, ominous Jones:
aspects of the Rhythm and adventure, presence, Raiders of
piece by melodic horror, fantasy primal the Lost Arc
Stravinsky are contour. and Western. instincts, (1981): 3’
used. Most primitive - Independence
commonly the cultures, Day:
86
opening and unknown. Resurgence
the Dance of (2016): 46’
the Young
Girls.
Tropes from Iconic Association
Horns of Loud and long Orchestration and Action, Impending - Inception

Doom pedal tones register Thriller and doom, (2010): 96’
played by the low Suspense. dangerous - Prometheus
brass ensemble. action. (2012): 04’
First hear in
Inception.
Jaws Low register Orchestration, Thriller, Imminent - Jaws (1975):
Strings ostinato in the register and Adventure danger, lurking, Opening
lower strings. intervallic and comedic Titles
Characterized by relationship. Suspense. association. - Pirates of
minor or the
dissonant Caribbean:
intervals. First The Curse of
heard in Jaws. the Black
Pearl
(2003): 20’
Western Comprised of Orchestration. Western. Cowboys, - The Good,
Whistle whistled westerns and The Bad and
oscillating gun duels. The Ugly
intervals (often (1966): Main
perfect intervals). Title
First heard in The
Good, The Bad
and The Ugly.
87
BIBLIOGRAPHY
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Zarathustra.” Master Thesis, University of North Carolina, 2014.
Broughton, Bruce. Silverado. Los Angeles: Omni Music Publishing, 2014.
Everett Maus, Fred. “Music as Narrative.” Indiana Theory Review 14 (1991): 30-60
Finck, Henry T. Richard Strauss: The Man and His Works. Boston: Little, Brown and Company,
1917.
Fred Karlin & Rayburn Wright, On the Track: a guide to contemporary film scoring, 2nd edition.
New York: Routledge, 2004.
Green, Jessica. “Understanding the Score: Film Music Communicating to and Influencing the
Audience,” Journal of Aesthetic Education 44 (2010): 81-94.
Gorbman, Claudia. “Narrative Film Music.” Yale French Studies 60 (1980): 183-203.
Hatten, Robert S. “Performance and Analysis—or Synthesis: Theorizing Gesture, Topics, and
Tropes in Chopin's F-minor Ballade.” Indiana Theory Review 28 (2010): 45–66.
Higgins, Kathleen Marie. Nietzsche’s Zarathustra. Lanham, MD: Lexington Books, 2010.
Holst, Gustav. The Planets, Op.32. Mineola, New York: Dover Music Publications, 1996.
Ishiguro, Maho “The Affective Properties of keys in instrumental music from the late nineteenth
and early twentieth centuries.” Master Thesis, University of Massachusetts – Amherst,
2010.
88
Johns, Keith Thomas. “A Structural analysis of the relationship between programme, harmony
and form in the symphonic poems of Franz Liszt.” PhD Diss., University of Wollongong,
1986.
Laszlo, Ervin. “Affect and Expression in Music.” The Journal of Aesthetics and Art Criticism 27
(1968): 131-34.
Liszt, Franz. Prometheus, S.99, Franz Liszt’s Musikalische Werke, Series I, Band 3. Leipzig:
Breitkopf & Hartel, 1909
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University of California Press, 2008.
Mattheson, Johann. Der vollkommene Capellmeister: a revised translation with critical
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Mattheson, Johann, and Hans Lenneberg. “Johann Mattheson on Affect and Rhetoric in Music
(I).” Journal of Music Theory 2 (1958): 47-84.
Meandri Sanchez, Ilario, “Around the Marvelous: Film Music Formulas from an
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Mendl, R. W. S. “Beethoven as a Writer of Programme Music.” The Musical Quarterly 14
(1928): 172-77.
Mendl, R. W. S. “The Art of the Symphonic Poem.” The Musical Quarterly 18 (1932): 443-62.
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90
VOLUME II
91
INSTRUMENTATION
Violin I
Violin II
Viola
Violoncello
Piano
Duration: 21 minutes
92
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I.
(Los Angeles, Spring 2017)
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p 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. b œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
&
p 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
bœ bœ bœ œ ˙
B ‰ œ. ˙ œ œ bœ œ #œ ™ œ
J w
J 3
f heroic
? ∑ ∑ ∑ ∑
¢
. b œœœ n œœ. b œœœ.

n œœœ b œ bœ
b œ œ.
& J ‰ Œ Ó ∑ ∑ ‰ bœœJ nœœ J ‰ J ‰
p mp playful
.
.
bœœœ ‰ Œ bœ
‰ bœœj œœ. bœœ œœœ. ‰<n>œœœ ‰
{
49
& J Ó ∑ ∑
bœ œ J J
3
° #œ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
& >. #œ œ. œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ
. f p3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
#>œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. #œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. #œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. #œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.

&# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
f p
#œ œœœ ˙ œ b-œ -œ #-˙

B Œ #œ #-˙ ˙™ Œ
3 3
f
-œ #-˙
¢
? ∑ Ó Œ bœ- #-˙ ˙™ #œ
3
f
b >œ. #œ . œ. #œ . . nœ . .
bœnœ œ. #œ . # œ # œJ n œœ # œ # œ n œœ n œœœ œœ ###œœœ
& bœ. œ. œ. œ. œ. ∑ ‰ # œ #œ ‰ J ‰ ‰ J Œ
3
J 3
fp
mp playful
f
j . #œ. . . . 3
‰ ##œœ #œ. nœœ œœ nœ œœ #œ
{ & bbœœœ ‰ œ. œ. œ. œ.
j
bœ. ‰ Œ Ó ‰ j œ #œ œœ ‰ œœ ‰ #œ. œ. œ.
#œ œ J J J
53
. 3
99
° #œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. bœ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. #œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
& œœœ œœœœ œ œ œ œ œ
3 3 3 3 3 3 3 3 3 3 3 3
3 3 3 3
nœ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. #œ œ3 œ œ œ3 œ œ œ3 œ œ œ3 œ
& œœœœœœœœœœœ œ
b œ œœœ œ œœœœœœœ
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
3 3 3 3 3 3 3 3 3 3 3 3
B ∑ ∑ ∑ ∑
b˙ œ œœ ˙ œ™ œ w w
? nœ
¢ J
. # # œœ œœœ. . bœ # œœœ
# œ œœ # œ œœœb œœ nn#œœœ
& ∑ ∑ ‰ ##œœJ œ J ‰ ‰ œœœ j
J ‰ ‰ ###œœœ nnœœœ.
œ
J
mp
# œ œ. j
{ & nœj ‰ Œ Ó ∑ ? ‰ ##œœ nœœ &##œœ j
nœœœ ‰ ‰ ##œœ # nœœ #œœ
j #œ nœ
nœ ‰ ‰ ?## œœ œœ & #œ
. J #œ œ n œ. # œ n œœ. J #œ
57
#œ
3
œ # œ œ.
° œœ. ‰ Œ Ó ∑ ∑ œ. œ. ‰ Ó
& J J
f
3 3 3 3
> 3 . 3 . 3 . . 3
& bœbœ ‰ œ œ ‰ œ œ ‰ œ œ ‰ bœ nœ ‰ œ œ ‰ œ œ ‰ œ œ ‰ bœ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ #œœ nœ. œœ#œœ nœ. œœ#œœ nœ. œœ œœ œœ#œ.
fmp
3 3 3 3 3 3 3 3
f
.J .J .J .J
3 3 3 3 3 3 3 3 3 3 3 3 3
3 3 3
B ‰ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ bœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ bœ. œ œ œ. œ œ œ. œ. œ œ
. . . . . . . . . . . . . . . . . . . . . . . . >. . . .
mp f
pizz. >œ >œ >œ

? Œ œ bœ bœ œ
¢ ˙ Œ bœ œ Ó œ
f
œ. bœ
nn œœœ œ ˙ bœbœ œ ˙ œ œ bœ œ #œ ™ œ w
& J
3
f heroic
bœ w
{ & œœ œ ˙ bœ bœ œ ˙ œ œ bœ œ #œ ™ œ
J
œ 3
61
100
>.
-œ b -œ œ- -œ b -œ n -œ œ œ.
° . .
& ∑ ∑ ‰ œ œ œ‰ œ œ œ
J J . bœ œJ ‰ Ó
3 3 3 3
œ
mf f 3
. . 3 . 3
3 3 . 3 3 3 3 3 3 3 3 3 3 3 3
& œ œ œ. œ œœ œ. œœ œœ œ. œœ œ. œœ bbœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ bœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ bœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ

b œ œ œ
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
.J
mp
.J .J .J
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
B œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
mp
b>œ œ œ arco
. . bœ. œ. - -œ -œ -œ -œ -œ . œ . . .
œ. bœ œ œ bœJ ‰ Œ
? Œ ? ‰ bœ. œ bœ œ J ‰ Œ ‰ bœœ œ œJ ‰ œ œ œJ ‰
¢ 3 3
3 3
3 3 3 3
mf
bœ œ œ œ œ b˙ œ
bœ œ ˙ b˙ ˙™ œ
& Œ
3 3
(f)
œ œ œ œ b˙ œ œ ˙ ˙™
{
65
& Œ bœ
3
bœ
3
b˙ œ
œ # œ œ.
- -œ œ œ œ. œ b œ n œ. œ. œ. œ. #œœ. œœ. œœ. œœ. œœ. #œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. #œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
° ‰ -œ b œ J ‰
& œ œ œœ
J 3 3 3 3 3 3 3 3 3 3 3 3
3 3 mf
mp f p
3 3 3 3 3
œ. œ. œ. œ. œ. œ. bœœ. œœ. œœ. bœ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. bœ. œ. œ. œ. œ. œ. nœ. œ. œ. nœ. œ. œ.
& nœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ. œ.
>. . . . . . . . . . . . mfp . 3 3 3 3 3 3 3 3 3 3 3
>œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. . . . œ. œ. œ. . . . . . .
B œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ &
œ œ œ œ œ œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3
mfp
o. 3
- -œ œ -œ -œ œ œ. œ œ œ œ œ œ. 3 . . . # œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
? ‰ œœ œ œ‰œ œ œ œ ‰ ‰B œ. Œ #œ. œ. œ. œ. œ. œ. #œ œ œ
¢ J J J œ. 3 3 3 3 3
3 3 3 3 3
mp mf p
˙ œ œ œ ˙ œ™ œ w w
œ J
&
˙ œ œ œ ˙ œ™ œ w w ?
{
69
& œ
101
J
.
° œJ ‰ Œ
& Ó ∑ ∑ ∑
œ
& J ‰ Œ Ó ∑ ∑ ∑
. œ™ b˙ ™
& œJ ‰ Œ Ó Œ
œ œ
j œ œ™ j
œ œ œ
mf cantabile
B #œ ‰ Œ Ó ∑ ∑ ∑
¢ J
-
## ˙˙˙ ™™™
#
n ˙˙ ™™ nœ# œ œ nœ#œ œ œ œ œ œ œ œ œ œ b œ œnœ œ œ œ œ bœ œ œ œ œ b œ bœ œ œ œ œ œ œ œ œ œ œ
& Œ ˙™ #œ#œ#œnœ bœ
-
mp p
? Œw &‰ j Œ
{
73 °
w- œœ #œ œ œ œ œ œ œ œ œ œ œ œ nœ bœ œ œ œ œ œœ œ œ œœ œ œ
° °
œœbœ œ œœ œ œ œœ œ œ œœ œ œ
œ #œ œ
œ œ™ nœ
° ∑ ∑ Ó ‰ #œJ J
&
mf
œ œ
& ∑ ‰ j #œ nœ œ#œ #˙ œ #œ œ œ™ nœ
œ #œ œ 3
J
mf
j
&
nœ #˙ œ #œ ‰ Œ Ó ∑ ∑
B ∑ ∑ ∑ ∑
¢
n œœ œ#œ œœ œ œ œœ œ œ œœ œ œ #œœ œ œœ œ œœ œ œœ œ œœ œ#œ œœ œ œ œœ œ œ“” œ œ œ œ œ

&
nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ #œ œ œ œ nœ œ nœ œ œnœ
p poco a poco cresc.
#>œ œ # -œ œ œ #œ œ œ nœ œ ?œ
? #œ ?œ ?
{
77
& œ nœ#œ œ nœ œ œ
°
sfp
œ &nœ#œ nœ œ nœ œ nœ œ œ
#œ #œ #œ
102
sfp
>œ
œ &nœ#œ
œ œ #œ &
#˙
° œ
& Œ bœ œ œ œ œ œ œ œ bœ œ œ œ œ bœ œ œ œ bœ œ œ œ œ œ œ
p
#œ œœœ œ
& œ #œ œ œ œ œ œbœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œbœ œ œ œ œ œbœ œ œ œ œ œ œ œ bœ œbœ œ œ œ œ œ œ œ œ œ œ œ œ œ
p
.
œ#œ œ
& æ æœæ#œææœ æœæ æ J ‰ Œ
bœ b œ œ œ œ œ œ œ bœ b œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ
œœ
mf p p
œ #œ œ
B ∑ ∑ Œ #œ ‰ Œ Ó
¢ J
mp (respond to piano line)
:“;
œ œ#œ œ œ#œ œ œ#œ œ œ #œ bœ™ ˙™ œ bœ ™
& œ œ œ œ Œ bœ œ œ bœ œ
J J
mp nostalgic (bring out)
nœ bœ™ ˙™
? -œ œ#œ œ œ œ œ œ œ œ œ œ Œ bœ œ œ
œ
bœ bœ ™ œ
{
81
& J J
° bœ nœ b œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ bœ œ œ bœ œ œ œ
& nœ œ œ œ
mp
nœ œ œ œbœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œbœ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ
& nœ œbœ œ œ œ œ œ œ œbœ œ œ œ
mp
& bœ bœ bœ œ nœ bœ œ œ œ œ œ œ bœ œ bœ œ bœ œ œ œ bœ bœ bœ œ bœ œ œ œ
bœ œ œ œ mp
bœ œ bœ bœ bœ b˙ bœ
B bœ j bœ bœ œ
¢ Ó J ‰ Œ Ó ‰
œ œ
mf
:“;
˙ bœ œ bœ œ bœ œ bœ œ œ
bœ œ™ œ bœ nœ bœ bœ bœ ™ bœ
& bœ J J
3
mf
˙ bœ œ bœ œ bœ œ bœ œ œ
bœ bœ bœ ™
{
85
& bœ
3
103
œ™ œ bœ nœ bœ
J
bœ
J
œ #œ
° bœ œ œ œ œ œ œ
J ‰ Œ
& Ó ∑ Ó Œ
œ
p mp
bœ œ œ œ œ œ œ œ bœ œ nœ
bœ œ œ œ œ œ J ‰ Œ Ó ∑ Œ
& œ- ˙
p mp
bœ œ bœ œ bœ œ œ œ nœ ‰ Œ Ó ∑ Œ
& J ˙™
p p
B b˙ ? œ bœ œ b˙
¢ b˙ nœ- œ- œ- œ- œ œ œ
mp
:“; loco
˙ ###w
w w
w ? œ œ nœ
& bœ Œ w w œ
˙ ? œ œ œ
w w œ
{
89
& bœ Œ
w w œ œ œ œ
>-œ
œ #œ >-œ n>-œ >-œ
° œ œ œ bœ nœ œ #œ ™ œ œ #˙
& J
f
œ n>-œ >-œ >-œ >-

& ˙ œ œ œ #˙ œ #œ œ œ œ
œ
f
& b˙ œ œ œ #œ
#œ j #œ ™ œ nœ Œ œ œ
#œ #œ >- >- œ
f >-
˙ ˙ œ #œ œ œ œ œ œ #œ nœ
? œ B ?
¢ ∑
f
w-
œ œ œ œ œ #œ #œ œ #œ œ œ œ #w
w
w
? œ œ œ J J J J J &
J
f
? œ œ œ j œ œ œ #œ #œ œ #œ œ œ œ w- ?
{
93
œ œ œ œ
œ
œ œ
œ œJ œJ #œ #œ
J
104
œ #œ
J œJ œ œ & bnw
w
w
>- >
œ œ -œ >-œ b >œ œœœœœœ œ œ. b œ .
°
& ‰ J ‰ Œ Ó ‰ #œJ œ nœ #œœJ ‰ #œ ‰ œ bœ œ œ œ bœ œ œ
œ
mf
>
>-œ >- # œ. nœ n œ.
& œ
œ œ b>œ ‰ œ œ œ œ œ œ ‰ Œ Ó ‰ #œJ J ‰ Œ Ó
>- J
mf
j ‰ Œ Ó
&
œ >œ- >œ- œ bœ >œ ‰ #œ œ œ œ nœ bœJ ‰ Œ ∑
>- >œ
>-œ >- j >œ #œ œ œ œ nœ bœ
? Œ œ œ ‰ Œ Ó ‰ J ‰ Œ #>œ ‰ œ œ œ œ œ bœJ ‰ Œ
¢ œ œ>
f >- mf
> œœ nn œœ. œ œ.
bbnœœœœ œ #œ
& #bw
w Œ ‰ œJ œ œ œJ ‰ Œ Ó ∑
nw
w-
mf
j j j
{ ? ˙˙ ™™
nœ & œ Œ ‰ nnœœœ bœœœ #œœ nœœœ ‰ Œ ‰ nbœœ bbœœœ# nœœ nœœj ‰ Œ Ó
˙- ™
n œ- nbœœœ .# œ . nœ . # œ œ.
97 >
° n>œ ‰ œ œ œ œ œ œ ‰ Œ
b >œ œ œ œ œ œ œ œ œ. b œ . œ n œ. b œ n œ. n œ
& J ‰ J ‰ Œ Ó ‰ #œJ œ nœ #œœJ ‰ ‰ J
# œ. nœ n œ. .
> b>œ ‰ œ œ œ œ œ œ ‰ Œ œ #œ. nb œœ n œœ œ
& bœ ‰ œ œ œ œ œ œJ ‰ Œ J Ó ‰ #œJ J ‰ ‰ œJ œ nœ
& Ó ‰ ‰ Œ Ó nœ ‰ #œ œ œ œnœbœ ‰ Œ Œ ‰ nœœ #nœœ nnœœ bœ. nœ

œ> œ œ œ œ b œ b œj J J .
>
.
nœ #œ
? Ó n>œ #œ œ#œ œ nœ n>œ
‰
œ #œ œ œ œnœbœ
‰ J nœ bœ.
¢ J ‰ Œ Ó ‰ J ‰ Œ Œ nœ
.
bb œœ n œœ œœ # œœ. bœ nœbœ œ œnœnœ œ œnœ
#œœœ œ b œ œ œ
∏∏∏∏
& ∑ Ó ‰ œJ œ œ œJ ‰ Œ Ó
j j j nœ
{ & ∑ Ó ‰ nnœœœ bœœœ #œœ nœœœ ‰ Œ ‰nbœœ bbœœœ# nœœ nœœ œ bœ bœnœ œ nœ bœ œ œ nœ nœ œ œ
.# œ . nœ . # œ œ.
101
105
n œ œ œ # œ.
° nœ J #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œJ. œ
œ œ œ œ bœ bœ
& ‰ Ó <n>œ œ œœœœ œœœœ J
J 3
f f p f heroic 3
# œ. œ œ œ bœ
œœ #œ œ œbœ. <n>œ œ œ œ œ œ œ œ œ. œ bœ
& œ œ J ‰ Œ #nœœ œœ œœ#œœ œœ œœ œœ<#> œ œ œ œ œ œ œ œ œJ œ
J J
3 3
f f p f heroic
.
& bœJ ‰ B‰ œj j j
œ œ œ œ<#>œ œ œ œ nœ œ œ œ œ œ bœ bœ
nœ bœ œ œbœ. ‰ #œ œ œ œ œ œ œ J
#œ n œ œ œ œ œ. J 3 3
f f p f heroic
? j
bœ. ‰ Œ ‰ #œj bœ ˙ œ œ œ œ œ œ œ œ j œj œ œ
œ
œ bœ bœ
¢ #œ œ#œn œ ˙ œ œ œ œ œ œ œ œ œœ J
f fp . f heroic 3 3
œ
# œœ bb ˙˙˙ #n## œœœœ œnœ
œ œ œb œ œ œ nœ œ œ
‰ b˙ #n##œœœœ œœœ
& J œ bœ œ
bbbnœœœœ #n##˙˙˙˙
fp f
bœœœ œ
? œ œ#œ
{ & J ‰ #n˙˙
n n ˙˙ bnnœœœ # œ ˙ œ œ. œ nœœ &nœ
œ œ nbœœ œ œ
. nœ œ œ
105 #œ ˙ œ
œ bœ bœ™ ˙™
° b œ œ nœ ˙ bœ b œ bœ œ
J
bœ
&
3
b œ œ nœ ˙ œ bœ bœ ™ j ˙™
&
3
bœ bœ bœ œ bœ
bœ œ nœ ˙ bœ j
B œ bœ ™ ˙™
3
bœ bœ bœ œ bœ
˙ b œ b œ bœ ™ œ bœ ˙™
? bœ œ nœ œ bœ B bœ J
¢
3
œ œ œ b œœ œ b œ bœb œ œ bœ
bœ œ œ œb œ œ nœ œ œ œ œbœ œbœ œ bœbœbœ œ œ œ œœ nœ b œœ œ nœ œ œbœ œbœ œ œ œ œ œ œ n œ
& bœ nœ
3 3
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108
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nœ nœœœ œ œ œ œœ ‰ ‰ ?œ œ œ J
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° #œ ™ œ bœ
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pp
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mf f
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∑
fp 3 3 3 3 3 3 3 3
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3 3 3 3 3 3 3 nœ ˙™
. mf f
“” ˙™ loco bœ
b œœ œ #œ 3 3
nœ œ œ œb œ bœ b œ œ b œ œ# œœnœ œ
& ‰ nœJ œ
œbœ œ nœ #œœ œ ##œœœ œ # œœœ # œ œÓœœ <n> œ œœœ # œj œœœ
3 3
3 3
3
f 3
3 3
3 3 3
3 bœ nœ
3
{& ‰ œj œ œ œ œbœ bœ bœ œ
˙™ bbœœœ œj bœj ##œœœ nœj # œœ ?bœ nœ œ
œ
bœ nœ
b œœ œ #œ J bœ
nœ
154 3
>œ # œ œ œ œ n œ b œ
° J ‰ Œ b>œ ‰ œ œ œ œ œ Œ b>œ ‰ œ œ œ œ œ œ œ œ œ nœ œ
& ‰ Ó b>œ ‰ œ œ œ œ œ bœbœ œ œ
mf
nœ
‰ bœJ œœ. ‰
& >œ ‰ #œ œ œ œ nœ bœJ ‰ Œ Ó n>œ ‰ #œ œ œ œnœ Œ J Œ >œ ‰ #œ œ œ œnœbœ œ œ œ œ œ
mf
j >œ #œ œ œ œnœ >œ #œ œ œ œnœbœ #œ.

B bœœ ‰ Œ ‰ ‰ J ‰ Œ & Œ ‰ œJ J ‰ Bbœ ‰ nœ bœnœ œbœ œj ‰ œ ‰ nœ œ œ œbœ
> > > >
mf
>œ #œ œ œ œnœ >œ #œ œ œ œnœbœ >œ > > >

? œj ‰ Œ ‰ ‰ J ‰ Œ ‰ œ œ œ œ œbœJ ‰ nœ ‰ #œ œ œ œnœbœJ ‰ œ ‰ #œ œnœ œnœ
¢
>œ
mf
œ nb œœ. b œ œ. œ . bœ n >˙
& bnbœœœœ Œ ‰##œœJ œJ ‰ ‰ nnœœJ #œœJ ‰ Ó Ó ‰ #œJ #œœ nœ nœœJ ‰ Œ ###˙˙˙
>
mf
j j
{? #œœ
œ Œ &‰ nbnœ
œœ bbœœœ. ‰ ‰ #œœj nœœj ‰ ‰ nbœœj n #œœj ‰ ‰n nœœj bœœj ‰ ‰ nœj #œ bœ nœj ‰ Œ &
>œ # œ œ. n œ # œ. n œ n œ. . ## ˙˙˙
158
#>˙
113
>
° œ ‰# œ œ œ œ n œ b œJ ‰ Œ
>œ #œ œ œœnœb œ n œ . b œ
nœœ. ‰ b œ n œ. b œ n œ. b œ n œ œ œ# œ
& ‰ #œ #œœ nœ ‰ J nœ J ‰ Ó
J
f p f p
#œ. bœ nœ. .
œœ bœœ. b œœ n œœ # œ œ. j
& n>œ ‰#œ œ œ œ nœ bœJ ‰ Œ œ ‰#œ œ œœnœbœ œ J‰ ‰ J nœœ #œ œ œ œbœ ‰ Œ
>
f p f p
n>œ #œ œ œ œnœ >œ #œ œ œœnœbœ b œ nœ. b œ . n œ bœ. j œ

B bœj ‰ Œ ‰ ‰ J ‰ Œ Œ ‰ nœJ # œ nœ bœ J ‰ ‰ œ œnœ j ‰
> #œ œ#œ
f mf p
f (f) p
.
>œ #œ œ œ œnœ >œ #œ œ œœnœbœ nœ #œ
? b>œ ‰ Œ ‰ ‰ J ‰ Œ Œ ‰ J nœ bœ. j ‰ œj
¢ J nœ bœ. ‰ Œ #œnœ œ bœ
f mf p f (f)
.
”
œœ b œœ. # nœœ n#œœ. “œ nœ. b œ . b œ œ n œ b œ œ œ n œ n œœœ # ˙
# œœœ. œb œ b œ b œ œ n œ œ J ‰ ###˙˙˙
& Ó ‰# œJ œ n œ œ #œ b œ nœ œœJ ‰ Œ n##nœœœœ
mf p
#œ. bœ nœ. . œ œ
j nœ b œ nœ b œ œ œ nœ bœ œ œ œ bœœœ ‰ n˙ ?n#œ nœ &
{& Ó
162
‰nbœœ bbœœœ #œœ
nœ . # œ nœœœ
.
b œ
nn œœn##œœœ nnnœœœ nbœœœ œ
. .
b œ b œ œ J nn ˙˙
n˙
œ
° ∑ ∑ ∑ ∑
&
& ∑ ∑ ∑ ∑
nœ ™ b˙ ™ œ œ™ j ˙ œ
B Œ œ œ bœ bœ œ nœ
J
mf cantabile
pizz. n œ nœ bœ
nœ bœ bœ
? j
¢ nœ ‰ Œ œ ‰ J œ bœ bœ bœ nœ œ ‰ bœj ‰ J ‰ nœ bœ bœ nœ ‰ J nœ œ
J
p
œ nœ œ œ œ œ œ œ b œ bœ œ œ œ bœ œ œ œ œ b œ bœ œ œ œ œ œ œ œ œ œ œ n œœ nœ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ
& nœ œ œ œ œ œ bœ
p
? #œ
#>œ
{& œ œ œ œ œ œ œ œ œ œ œ œ bœ bœ œ œ œ œ œ œ œ œœ œ œ œœ bœ œ œœ œ œ œœ œ œ œœ œ œ œ nœ œ œ œ œ œ
166 ° °
114
° sfp
bœ œ™ #˙
° œ œ bœ œ
& ∑ Ó ‰ œ #œ J Œ
J
mf
œ bœ œ™ #˙
& ‰ j œ œ #œ nœ œ#œ ˙ œ #œ œ bœ œ Œ
œ J
3
mf
B œJ ‰ Œ Ó ∑ ∑ ∑
? #œ œ œ œ œ œ bœ œ
¢ #œ
Œ œ œ œ œ œ Œ œ œ #œ #œ œ
œ
œ œ œ œ œbœ œ œ œ œ œbœ œ œ œ œ œbœ œbœ œ#œ œ œ œ œ œ œ œ œ œ œ œ œ

œœ œ œ œ œœ œœœ œœ œœœ œœ œ œ œ œœ œœ œ œœ œœœ œœ œ œœ œ œ
&
-œ #œ œ bœ œ œ œ œ œ œ œ b œ
? <#> œ ?œ ? œ œœœ œ œ ?œ -œ œ
{
170
<#>œ &œ œ# œ œœ œ œœ œ œ œ œ
>œ
sfp
œ &œœ
œ œ œ & bœ &
° œ#œ œ œ
& #œ #œ œ œ œ œ œ œ œ œ œ œ #œ #œ œ œ œ œnœ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ #œ œ œ œ œ œ #œ
p
& #œ œ œ#œ œ œ œ œ
p
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œnœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ
#œ œ œ
B œ #œ œ œ œ œ œ œ œ #œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ
p
arco
nœ #œ œ œ
? œ œ
¢ #œ Œ Ó Œ J ‰ Œ Ó Ó
mp (respond to piano line)
#œ ™ n˙ ™ œ œ™ #˙ œ
nœ œ #œ nœ œ #œ
& Œ J J
#œ ™ n˙ ™ œ œ™ j #˙ œ
{
174
& Œ nœ œ #œ
J
115
nœ œ #œ
nœ
° #œ #œ œ œ œ œ œ œ œ œ œ œ # œ œ#œ œ œ œ œ œ œ œ #œ œ œ #œ œ œ œ œn œ œ œ œ œ œ #œ #œ#œ œ œ œ œ œ œ œ
&
#œ œ œ œ œ œ œ
#œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ#œ œ œ œ œ œ œ œ œ œ œ#œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ#œ œ œ œ œ œ œ œ
&
# œ #œ œ œ œ œ œ œ # œ #œ n œ œ œ œ œ œ n œ œ # œ œ # œ #œ n œ œ # œ #œ œ œ œ œ œ œ
B
#œ n œ # œ nœ #˙ œ #˙
? J ‰ Œ Ó ‰ #œj œ #œ #œ œ #˙
¢
#œ œ #œ nœ œ œ #œ ™
#œ #œ œ # œ #œ ™ œ #œ #œ #œ
J
n œ #œ
J #˙
& Œ
3
3
nœ œ j j
{ & #œ #œ œ #œ #œ œ #œ #œ ™ œ #œ #œ #œ œ #œ ™ nœ #œ #˙ Œ ?
178
n œo ˙o œo wo
° ∑ ∑
&
pp
œo ˙o œo wo
& ∑ ∑
pp
B ∑ ∑ ∑ ∑
pizz.
? Œ Œ Œ Œ Œ Œ Œ Œ
¢ œ œ œ œ œ œ
p œ œ
bring out top voice
& #˙ ˙ w
n ˙˙ nn ˙˙˙˙ bbn ˙™
w
w œ bn ˙w
w
w bw
w
w
w
p
? ˙ ˙ ˙ ˙
{
182
˙
˙
pp
n˙
n˙ ˙ ˙
116
˙ ˙
˙
˙ ˙
˙
°
& ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑
B ∑ ∑ ∑ ∑
? œ Œ œ Œ #œ Œ Œ Œ Œ #œ Œ œ Œ
¢ #œ #œ œ
& œœœ b˙ nnœœœ œœœ œ #˙#˙˙ ˙ ˙ n#œ˙˙˙ #œ

 œ b ˙˙˙ ###˙˙˙ # œœ #˙ ## ˙#˙˙ nn#˙˙œ œ
? ˙ #œ ˙
{
186
œ
œ
˙ œ
œ
œ
œ
#˙
#˙ #œ ˙ #˙
#˙
˙
˙ n˙
n˙
° ∑ j ‰ Œ bœ
& #œ ˙ œ b˙ œ bœ b˙
mf mp
& Œ ˙ #œ
‰
#˙
˙™™ w #˙
mp p
B ˙ œ nœ
b˙ ˙ ˙ #w #˙
p
arco
? b˙ ˙ b˙ b˙ ˙ b˙ ˙ b˙
¢
p
& nbw
w
ww
∑ ∑ ∑
? bw
{
190
bw
∑
117
∑ ∑
° nœ >œ b-˙ b -˙
& J ‰ #˙ #œ w ‰ #-˙ œ
J
mf
& #w j ‰ ˙˙ ™™ ˙ ˙˙
#˙ n˙ œ - <n> ˙- -
>
mf
B bw ˙ #˙ n>œ ‰ b-˙ b-˙

J &˙™
-
mf
? b˙ bœ œ œ ˙ -˙ b˙- b-˙
˙
¢ œ
& ∑ ∑ ∑ ∑
?
{
194
∑ ∑ ∑ ∑ &
° b˙ ˙ ˙ ˙ Œ ˙ œ œ œ œ bœ
&
f
b˙ œ bœ ˙ b˙ œ #œ œ œ ˙
& #˙
f
& nw œ b˙ œ ˙ b˙ œ œ
#˙
f
b˙ œ ˙ #œ œ bœ nœ
? œ b˙ bœ œ #œ bœ
¢ &
f
b “˙˙”™™ loco œœ ˙˙

b˙ ™ œœ ˙˙
& b ˙™ bb˙˙˙
˙ Œ b˙ bœ
b˙ b˙ b˙ bœ
f
˙ ™™ ? b˙
{ & ˙˙˙ ™™ ˙ b˙ b˙ Œ bœ
<n> œœœœ ˙˙˙
˙ b˙
b˙ b˙
bœ
198
b˙ b˙
118
n -œ. -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ #>-œ #>-œ >-œ >- >- > >
>-œ >-œ œ- >-œ
>- >
° #œ œ œ # -œ #>-œ œ œ -œ >-œ
& Œ
3 3 3 3
mf ff
-œ #-œ -œ -œ -œ #-œ -œ -œ -œ -œ -œ
& Œ #>-œ #œ >-œ >- >- >-œ >- >-
œ œ œ œ
>- #œ- œ œ #>œ- #œ œ œ œ
3 3 3 3 > >- >- >- >-
mf ff
- - - - - -œ -œ -œ 3 > >-
& Œ œ œ œ œ œ B Œ #œ œ-
œ >œ- #>œ- # œ
Œ œ- -œ œ œ œ >œ- œ
3 3 3 œ- œ- œ- >- > #>œ- >-
> >- >-
mf ff
Œ
3 3
-œ -œ -œ -œ -œ -œ #-œ Œ ?Ó Œ ∑ ? Œ œ œ
¢& n œ- œ- œ- œ- œ-
œ #œ
>- >- # œ- >- >- >œ-
3 3
mf ff ff >
>
> bbb œœœ w
w
w >- ˙™
b ˙˙ ™™ œ w bnb w
w # ˙˙˙˙ ™™™™
™ bnw
w œ
& b˙˙ ™ b œœœœ
b w
w
w #n w
w
w #œœœ bn˙˙˙ ™™™
b ˙˙ ™™ w w-
> >-
b ˙˙ ™™ >
ff
>
>- >-œ -
? w bbw w
w
w bœœœ ?
##w
nww
{ w # ˙˙ ™™ ˙w
˙ ™™™
 w w ˙-™ bœ ˙ nœ
> bœ nœ
202
>-
bœ œ œ nœ nœ œ œ œ
° œ œ bœ œ #œ # œ œ œ œ bœ bœ3 œ nœ nœ nœ nœ b œ œ bœ œ bœ œ nœ b œ nœ bœ bœ
3
œ
& œ nœ œ bœ
f 3 3 3 3 3 3
cresc.
3 3 3 3 3 3 3 3
& œ œ bœ bœ œ œ œ œ #œ #œ
nœ nœ œ œ œ
œ œ œ bœ b œ nœ œ nœ œ n œ n œ bœ œ bœ œ bœ œ nœ bœ nœ bœ b œ
f cresc.
œ œ bœ
3 3 3 3 3 3
3 3
B œ œ bœ bœ œ œ œ œ nœ
#œ #œ nœ œ
œ œ
œ œ œ bœ œ bœ nœ œ nœ œ nœ nœ œ bœ œ bœ œ b œ bœ œ nœ œ n œ bœ œ
f cresc.
3 3 3 3 3 3 3 3
? bœ œ œ nœ œ œ
¢ œ œ bœ œ œ #œ #œ nœ œ œ œ œ b œ œ bœ nœ œ n œ œ nœ nœ œ bœ œ bœ œ b œ bœ œ nœ œ n œ b œ œ
f cresc.
˙- ™ 3 œ œ œ b œ œ bœ œ nœ b œ œ
& # œœœ #˙˙˙ ™™™ Œ œ bœ œ Œ Œ œ bœ
œ 3 3 3 3
>- cresc.
f
-˙ ™ >-
? œœ b ˙˙˙ ™™™ bbw w
w 3 3 3 3 3
{
208
bœœ
>-
>-
w
# ˙˙˙ ™™™ bœ
bœ
>-
œ œ b œ œ bœ nœ Œ
œ
119
nœ œ œ Œ
œ b œ bœ
Œ
nœbœ
bœ
.
b œ n œ b œ n œ œ œ b œ œ b œ n œ œ œ œ b œ œ n œ œ n œ œ œ œ œ œ œ œ œ œ œ # œ œ œ. . . . œ. œ. œ. œ. œ. œ. œ. . . . . . . . . . . . .
° nœ œ nœ œœœ bœ œ œ œ œ œ œ œ œ œ œ œ
& æœ œ
æo
œ
æo 3 3 3 3 3 3 3 3
agressivo o ff p
o o o o . . . . . . . . . . ..
æ æ æœ æ
b œ nœ n œ œ nœ œ œ œ œ œ œ #œ nœœ. œœ.
œ œ œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. b œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
& bœ nœ bœ nœ nœ œ œ œ œ bœ nœ œ œ œ # œnœ nœ œ n œ œ œ
agressivo 3 3 3 3 3 3 3 3
ff p
>.
B bœ nœ bœ nœ œ œ bœ œ bœ nœ œ œ œ bœ œ nœ œ nœ œ œ œnæœœ œ œ œ œœ œ œ #œ œœ ‰ Œ Ó ∑
nœ œ nœ o æo J
agressivo
f
˙ bœ bœb œ œ ˙
? bœ nœ œ bœ œ bœ nœ œ œ bœ œ nœ œ nœ œ œ œ œ œ œ œ œ œ œ #œ Bœ. œ œ
¢ b
nœ n œœ œ œ nœ œ œ œ
æo 3
agressivo
ff f heroic
>.
b œ b œ n œ œ œ b œ b œ n œ n œ œ œ b œ œ n œ œ n œ œ œ œ œ œ œ œ œ œ œ # œ œœ œ œ œ.
nœ œ nœ œ. ∑
& œ. œ. œ. œ.
3
agressivo f p
? bœ bœ Œ œ bœ œ nœ œ nœ œ œnœ œ œ œ œ œ œ œ #œ œœœ ‰
{212
nœ n œ &b œ
œ bœ nœ
nœbœ J œ. œ. œ. œ.
∑
° bœ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œœ. œœ. œœ. œœ. œœ. œœ. b>œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. bœ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. bœ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
& b .
œ
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
3
fmp
œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. b>œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. #œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. bœ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
& b œ œ œ œœœœœœœœœ n œœœœœœœ œ œœœœ b œœ œ œ œ œœœœœœœ
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
fmp
B ∑ ∑ ∑ Ó Œ b3œ œ b˙ b˙
f
B bœ œ #œ ™
œ w
J bœ b œ œ œ œ n˙ œ
? bœ œ b˙ b˙
¢ Œ
f 3 3
b œœ œ. n œœœ. b >œ. b œ b œ. n œœ.

bbœœœ n œœ. b œ n œœJ b œJ bœnœ œ. bœ . œ
b œ
& ∑ ‰ J œ ‰ ‰ bœ. œ œ œ. œ ∑ ‰b œ bœ J ‰ J ‰
3
J
mp playful fp mp playful
b œ œ. œœ. j . bœ.
{ & ∑ ‰ bœœj œœ. bœœ œœJ ‰ œJ ‰ bbœœœ ‰ œ œ. œ œ
j
bœ ‰ Œ Ó ‰ j bœ bœ bœœ ‰n œœ ‰
bœ œ bœ œ J J
216
.
120
° bœ. œ. œ. œ. œ. œœ
. . œ. œ. œœœ
. . . bœ. œœœœœœœœœœ
. . . . . . . . . . œ. bœ. œœœœœœœœœœœ . . . . . œ. œ. #œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
. . . . . . . . . . . œ. œ. œ. œ. œ. œœœœœ
& œ œ œ œ œ œœ œ œ œ œ œ
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
3 3 3 3
bœ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. nœ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. #œ œ3 œ œ œ3œ œ œ3 œ œ œ3 œ
& œ œ œ œ œ œ œ œ œ œœœ b œ œ œ œ œœœœœ œ œ œ
b œ œ œ œ œ œ œ œ œœ œ œ
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
b˙ œ œœ ˙ œ™
B ˙ ™ œ œ œ w w
J
b˙ œ œœ ˙ œ™ œ w w
? ˙ ™ œ œ
¢ J
bœ . . . . # œœ œœœ.
b œ b œ b œœ œœœ n œ œœ bb œœœ . #
# œ œœ œ J# œ . bœ
œœœ b œœ nn#œœœ j . œœœ
#œ
& ‰ J Œ ∑ ∑ ‰ ##œœJ œ ‰ ‰ œœJ J ‰ ‰###œœœ nnœœœ
3
mp
bœ . bœ. œ #œ œ. bœ. 3 j j j
{ & ‰b œJ bœ œ œ œ bœ œœ nœj ‰ Œ Ó ∑ ‰
# œ
j œ ##œœ nœœœ ‰ ‰##œœ # nœœ #œœ
œ œ n œ. # œ
nœ ‰ ‰ j œ
n œœ. #œ
... . # œ n œœ ### œœœ n œœœ œ
3 #œ .
221
œ. œ # œ œ. > œ œ œ. >œ.
° .œ œ#œ œ. œ.
& œ ‰ Œ Ó ∑ ∑ ‰ >œ.
J 3
œ.
f 3
3 3
3 3 3 3 3 3 3 3
> 3 . 3 . 3 . . 3
& œ#œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ bœ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ bœ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ #œœ nœ. œœ#œœ nœ. œœ#œœ nœ. œœ œœ œœ#œ.
fmp 3 3 3 3
f
.J .J .J .J
3 3 3 3 3 3 3 3 3 3 3 3 3
3 3 3
B ‰ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ bœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ bœ. œ œ œ. œ œ œ. œ. œ œ
. . . . . . . . . . . . . . . . . . . . . . . . >. . . .
mp f
pizz. >œ >œ

? Œ œ bœ bœ œ
Œ bœ Ó œ
¢ ˙ œ >œ
f
œ. bœ
nn œœœ œ ˙ bœbœ œ ˙ œ œ bœ œ #œ ™ œ w
& J
f 3
bœ w
{ & œœ œ ˙ bœ bœ œ ˙ œ œ bœ œ #œ ™ œ
J
œ 3
226
121
>
pizz. -
. . bœ. œ. n-œœ b œœ
arco œ n -œ b -œ n œ œ œ b œ. œ. >.
° Œ
bœ œ Ó ‰ bœ. bœ bœ bœ J œ‰ œ œ œ œ ‰ ‰ nœ. œ#æœ æœ#æœ
& J J J
b >œ 3 3 3 3 3 3 3 3 3
(f) mf f mf f
. 3 . 3 . 3 3 . 3 3 3 3 3 3 3 3 3 3 3 3
& œ œœ œ. œœ œœ œ. œœ œœ œ. œœ œ. œœ bbœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ bœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ bœœ

b œ œœœœœœœœœœœ
œœœœœœœœœœœ
.J
mp
.J .J .J
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
B œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
mp
bœ arco
. . bœ. œ. 3
- -œ 3 œ 3 -œ -œ 3 œ . œ . . .
œ. bœ œ œ bœJ ‰ Œ
? Œ
b>œ œ ‰ bœ. œ bœ œ J ‰ Œ ‰ bœœ œ œJ ‰ œ œ œJ ‰
¢ 3 3
3 3
(f) mf f mf f
bœ œ œ œ œ b˙ œ
bœ œ ˙ b˙ ˙™ œ
& Œ
3 3
œ œ œ œ b˙ œ œ ˙ ˙™
{
230
& Œ bœ
3
bœ
3
b˙ œ
o
3 3 œ n . œ bœ œ #œ œ
œ
° ‰ -œ b œ- œ œ n œ. œ. œ. œ. #œœ. œœ. œœ. œœ. œœ. #œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
& œ œ œ œ J ‰
J 3 3 3 3 3 3 3 3
mp f p
3 3 3 3 3 . . . . . . . . .
& nœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ. œ œ œ œ œ œ bœœ œœ œœ #œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ. .
>. . . . . . . . . . . . mfp
3 3 3 3 3 3 3
>œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. . . .
B œ œ œ œ œ œ œ œ œ œ œ œ œ. œ. œ. œ œ œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ œ œ &
3 3 3
3 3 3 3 3 3 3 3 3
mfp
o. 3
- -œ -œ -œ œ. œ œ œ œ œ œ. 3 . . .
? ‰ œœ œ
œ
œ ‰ œ œ
œ
œ œJ ‰ ‰ B œ. Œ #œ. œ. œ. œ. œ. œ. #œ œ œ
¢ J J œ. 3
3 3 3 3 3
mp mf p
˙ œ œ œ ˙ œ™ œ w
œ J
&
˙ œ œ œ ˙ œ™ œ w
{
234
& œ
122
J
. . . . . . >œ n >œ n œ #œ #œ 3
° #œ. œ. œ. œ. œ. œ. œ œ œ œ œ œ #œ œ #œ #œ j 3 3
#œ nœ # œ # œ j 3 "
& œ # œ # œ #œ œ # œ j ‰ #œ œ j
f
3 3 3 3
ff
3
J
3
J n œ #œ 3 3
J n# œœ # œ
. . . . . . nœ. œ. œ. nœ. œ. œ. #>œ œj #œœ #œ œj 3 3 > 3

j ‰ #œ œ #œœ #œ œj œ #œ 3 j
& #œ œ œ œ œ œ nœ J nœ œ œ #œ #œ œ J nœ œ #œ
"
3 3 3 3 3 3 3
f ff
3
3 3 3 3
j nœj œ j nœj œ
3 3 3 3
. . . . . . . . . . . .
& œ œ œ œ œ œ œ œ œ œ œ œB œ j œ #œj ‰ œ œ #œj &
"
œ œ ## œœ n œ œ œ ## œœ n œ
3 3 3 3 >œ >œ
f ff
. . . . . . . . . . . . 3
B #œ œ œ œ œ œ œ œ œ œ œ œ ? 3
j 3
j nœ œœ œ #œ ‰
3 3 3
j œ œœ œ #œ
¢ n œœ œ
œœ œ #œ J J œœ œœ œœ #œ J J &
3 3 3 3 3 3 "
f ff >
w œ n œœ n œœ œ œ n#“œœ” n œœ #œ œ n œœ n œœ œ œ
& ##œœœ nœœœœ ####œœœœ#n#œœœœ nœœ nnœœ ###œœœ n#œœœ ‰#n œœ nnœœ ###œœœ#n#œœœ nœœ nnœœ ###œœœ n#œœœ ? "
J J J J J J J
3 3 3 3 3 3 3 3
ff
3 3 3 3 3
j j 3 j 3 j 3 j
{ &
w ? œœ œœ œœ ##œœ nœœj œœ œœ #œœ ‰ nœ œœ œœ ##œœ nœj œœ
œ œ
œœ #œœ
œ œ œ #œ n œ œ œ œ n œ œ œ #œ n œ œ œ œ "
237
Maestoso q=100 molto rall.

“” >œo
n>˙ n>œ b >˙ b >œ b >˙ n>œ b >˙ >˙ >
w
° Œ b>˙ J ‰ Œ Ó
&
ff sffp ff
n>˙ b >˙ >˙ > >œo

n>œ b >˙ b>˙ b >œ b >˙ n>œ w
J ‰ Œ
& Œ Ó
ff sffp ff
b >˙ >˙ >œ b >˙ >˙ > >œ

>˙ >œ b>˙ b>œ w J ‰ Œ
& Œ Ó
ff sffp ff
>˙ >œ >˙ >˙ >œ >˙ >œ >˙ >˙ >
w >œo
¢& Œ J ‰ Œ Ó
ff sffp ff
loco
bbb œœœœ n ˙˙ n## ˙˙˙ >˙-
bnn˙˙˙˙ b œœ b˙ nn œœœ #˙ ##˙˙˙ n>œœ
? nnn˙˙˙˙ n˙ b˙˙ bœœ b˙˙ œœ bb˙˙˙ nœ nœœ ‰ Œ
& bbb˙˙˙˙ b˙˙ œœ # ##˙˙˙˙
n J Ó
ff
sffp ff
>œ
? Ó ? n˙˙ ? œœœ ‰ Œ
{ nw
240 n w
& b˙
˙˙
n˙ bbbw
w
w bbbw
w
w
123
bbb˙˙˙ ˙
b˙
˙
˙
&nn˙˙
>-
J
Ó
II.
Maestoso q=60
w ˙
con sord. ˙ wo ˙o ™
° 4 3
&4 ∑ 4
pp
con sord. w ˙ #˙ ˙ n˙ #˙ ™
4 ∑ 3
&4 4
pp
con sord.
w ˙˙ ™
4 ∑ w #˙ w 3 ˙
&4 4
pp
?4 ∑ ∑ ∑ ∑ 3 ∑
¢ 4 4
Maestoso q=60 ˙ ˙ # ˙ ™™
? 44 # w w bbb˙˙˙˙ ˙
˙
3 #˙˙˙™™
w w & Ó b˙ ˙ 4
#w #w
pp
? 44 w w 3
4 ˙˙ ™™
{ 1
w
w
w
w
w w
° O˙™™ Oœ 4
& ∑ ˙O ™™ ˙O ™™ ##˙O 4
p
∑ O˙™™ Oœ 4
& ˙O ™™ ˙O ™™ bb˙O 4
p
˙o ™ ˙o ™ 4
& ∑ ∑ Œ Bb O
˙ 4
p
con sord.
O˙™™ O˙™™
¢
? ∑ ##O˙ ™™ Oœ nnO˙ 4
4
p
∑ ∑ ∑ ∑ ∑ 4
& 4
˙™ ˙™ ˙™ ˙™ ˙™
? ˙˙™™ ˙˙™™ œœ™™ œœ œœ ˙˙ ™™ ˙˙ ™™ 4
{
6
œJ
124
œ ˙™ ˙™
4
˙ wo wo ˙o ™ œo
° 4 Ó 3
&4 4 Œ Œ
p
#˙ ˙ n˙ #w ˙™ œ
4 3
&4 Ó 4 Œ Œ
p
wo o™ œo
B 44 Ó
#˙ w 3 ˙ Œ Œ
& 4
p
pizz.
?4 w w ˙ Œ œ 3 œ œ
¢ 4 w w ˙ 4 Œ œ Œ œ
pp
˙ ˙
4 Ó bbb˙˙˙˙ ˙
˙ #w
w 3 <n>˙ ™ ˙™
& 4 #w
w b˙ ˙ #w
w
w 4 ##˙˙ ™™ œ™ œ™ œ™
p
Œ™
? 44 w ∑w <n> ˙˙ ™™ 3 <n> œœ ˙˙ ˙˙ ™™
w w ˙˙™™ 4 œœ
{
11
w w Œ ˙ ˙™
° ∑ ∑ ∑ ∑ ∑
&
& ∑ ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑ ∑
? Œ œ #œ œ œ œ j œ œ #œ
¢ œ Œ #œ ‰ J ‰ J ‰ œ ‰ J Œ #œ
˙ n ˙˙ ™™ ˙˙ ™™
˙™ œ
& ##˙˙˙ ™™ ∑
#œ
#˙
˙˙
n˙ ™
œœ œœ ˙™
™ œ
™ #˙ ™ ˙™ ˙™ #˙ ™
? # ˙˙ ™ ˙™ ˙™ ˙™ ˙™
{
16
˙™
˙™
#˙ ™
# ˙™
˙™
˙™
125
˙™
˙™
˙™
˙™
°
& ∑ ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑ ∑
#œ œ bœ œ œ
? Œ Œ œ Œ œ Œ ‰ j œ
¢ bœ œ œ
# œœ ™™ œœ ™™ # œœœ ™™™ n ˙˙˙ ™™™™ ˙˙˙ ™™™

#œœœ ™™™ œ˙˙ ™™™ œ™ n˙˙˙˙™™™ ˙˙˙ ™™™
& Œ™ œ™ ˙™ ˙™ ∑
mf
b˙™ ˙ ™™ œ ™™ bb œœ ™™ ˙˙ ™™ #˙ ™
? ˙™ ˙ œ
{ b˙ ™ ˙™ œ™ œ™ ˙™ n˙˙ ™™
21
b ˙™ ˙™ œ™ œ™ ˙™ n˙ ™
° ∑ ∑ ∑ ∑ ∑
&
senza sord.
& ∑ ∑ ∑ ∑ Ó œ #œ
mf
& ∑ ∑ ∑ ∑ ∑
? j œ œ #œ j <n>œ #œ j <n>œ #œ œ
¢ ‰ œ ‰ œ œ ‰ œ œ œ œ ‰ j
œ #œ œ Œ Œ
˙ ™™ ˙˙ ™™ n ˙˙˙ ™™™ # ˙˙˙ ™™™ ˙˙˙ ™™™

###˙˙˙˙ ™™™ ˙˙˙ ™™™ n˙˙˙ ™™™ #˙˙˙™™™ ˙˙˙™™™
& # ˙™ ˙™
p
™ œ™ #œ ™ ˙™ œ™ #œ ™ ˙™
? <#> ˙˙ ™ œœ ™™ œœ ™™ ˙˙ ™™ œœ ™™ œœ ™™ ˙˙ ™™
{
26
˙™
˙™ œ™ œ™ ˙™
126
œ™ œ™ ˙™
senza sord.
° œ œ ˙™ œ œ œ
& ∑ ∑ Œ
mf
˙ œ b˙ ˙™ œ bœ œ œ œ œ
& bœ bœ
senza sord.
bœ œ ˙
& Ó B œ b˙ ™ b˙ ™ ˙™
mf
arco senza sord.

? ∑ ∑ ∑ ˙™ ˙™
¢
mf
& ∑ ∑ ∑ ∑ ∑
?
{
31
∑ ∑ ∑ ∑ ∑
° œ œ œ œ b˙ œ œ #œ œ œ™ #œ œ
b˙ œ J
&
mf f
Œ™ Œ™ j
& ˙ bœ n˙ ™ œ ‰ œ™
#œ œ™ œ
mf f
B œ œ #œ
œ bœ #˙ ™ œ
˙™ ˙™
mf f
bœ œ bœ œ b˙ œ ˙™ œ
? ˙ ˙
¢
mf f
& ∑ ∑ ∑ ∑ ∑
?
{
36
∑ ∑
127
∑ ∑ ∑
° ˙ #œ ,
œ ˙™ œ Œ œ ˙ œ ˙
& œ
p
& ˙- œ- ˙™ œ Œ Œ ∑ Œ Œ
p mf
œ
B œ œ œ œ œ ˙™ œ Œ Œ ∑ ∑
p
œ œ ˙
? œ œ
˙ ˙™ œ Œ Œ Ó
¢
p p
& ∑ ∑ ∑ ∑ ∑
?
{
41
∑ ∑ ∑ ∑ ∑
° ˙™ ˙™ œ #œ œ œ œ bœ b˙ ™
&
f
& ˙ œ ˙™ #˙ ™ ˙™ bœ œ œ
f
B ∑ œ œ œ ˙™ ˙™ b˙ ™
f
? bœ œ œ ˙™ ˙
¢ œ ˙™ ˙™
f mf pp
& ∑ ∑ ∑ ∑ ∑
?
{
46
∑ ∑
128
∑ ∑ ∑
° ˙o ™ ˙o ™ ˙o œ b˙ œ
& bœ œ ˙
ff
o o o o o
& ˙™ ˙™ ˙™ ˙™ ˙™
B bœ ˙ œ nœ œ b˙ ™ bœ œ œ b˙ ™
f
? ∑ ˙™ ˙™ ˙™ ˙™
¢
f
& ∑ ∑ ∑ ∑ ∑
?
{
51
∑ ∑ ∑ ∑ ∑
° ˙™ ˙ œ™
& b˙ ™ œ n˙ ™ œ™
p f
o œ
& ˙™ ˙™ ˙™ ˙™ œ œ
f
B b˙ ™ ∑ b˙ ™ b˙ ™ ˙™
f
œ b˙ œ bœ™ œ bœ b˙ bœ œ œ
? b˙ œ J œ bœ
¢
mf f with passion
& ∑ ∑ ∑ ∑ ∑
?
{
56
∑ ∑
129
∑ ∑ ∑
-˙
° b˙™ -œ
& ˙™ b˙- œ- b˙- ™
-
p pp sotto voce
œ ˙ -˙
& œ- ˙™
-
˙- œ- ˙- ™
p pp sotto voce
B ∑ b˙- œ- b˙- ™ ˙- œ- ˙- ™
p pp sotto voce
b˙ bœ œ- ™ pizz.
? œ™ ˙™ ∑ Œ Œ œ
¢ -
p p
& ∑ ∑ ∑ ∑ ∑
?
{
61
∑ ∑ ∑ ∑ ∑
° ∑ ∑ ∑ ∑ ∑
&
& ∑ ∑ ∑ ∑ ∑
B ∑ ∑ ∑ ∑ ∑
arco
? bœ Œ Œ #nO˙ ™™ nbO˙ ™™ O˙ ™™ O˙ ™™
¢
pp
˙˙ ™™ ˙˙ ™™ ˙˙ ™™
& ∑ ˙™ œ™ ˙œ™™ ˙˙™™ ∑
Œ™ bœ ™
pp
p
˙™ ˙ ™™ ˙ ™™ ˙ ™™ ˙ ™™
? b˙˙ ™ ˙˙ ˙˙ ˙˙ ˙
{
66
b ˙™
™
˙™
™
130
˙™
™
˙™
™ ˙™
˙™
°
& ∑ ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑ bb˙O ™™
mf
˙o ™
B Œ Œ ∑
<n> œO bb˙O ™™ ˙O ™™ mf
pp
b O˙ O˙™™ O˙™™ bb O˙ ™™ O˙™™

? bOœ
¢
mf
b˙™ ˙™ b ˙˙ ™™
œ b˙
˙ bb˙˙ ™™ ˙˙ ™™ b ˙˙˙ ™™™
& œ bbœœ œœ ˙˙ ™™ ∑ ˙™
b ˙˙ œœ bœ ˙™
mf
˙™ ˙ ™™ ˙ ™™ ˙ ™™ ˙ ™™
? ˙™ ˙ ˙ b˙˙ ™ ˙˙
{
71
˙™
˙™
˙™
˙™
˙™
˙™ b ˙™ ˙™
™
, œ ˙ œ b˙
° ∑ ∑ ∑
&
mp mf
b˙O ™™ ˙ ˙
& ˙O ™™ ˙O ™™ Œ Œ
mp mf
˙o ™ ˙o ™ ˙o ™ ˙ ˙
B Œ Œ
mp mf
 O ™ O˙™™ O˙™™ bœ™ n˙ ™

? ˙ ™ bœ ™
¢
mp mf
˙˙ ™™™ b ˙˙˙ ™™™ n b ˙˙˙ ™™™ , nœ œ œ bœ

˙˙˙ ™ b˙˙˙™™™
& ˙™™ bn˙˙˙ ™™™ Œ Œ œ Œ Œ œ
mp mf
˙™ ˙ ™™ ˙ ™™
? ˙˙ ™ ˙˙ ˙˙ ˙#˙˙ ˙˙
{
76
 ˙™
™
˙™
™
˙™
™ &
131
Œ Œ ˙
bœ
°
œ œ œ bœ œ œ œ œ b-˙ -œ b-˙ ™ nœ #œ œ
&
f mp mf
œ ˙ œ bœ œ -œ -˙™ ˙™
& œ œ œ ˙-
f mp mf
˙ ˙™ -˙
B Œ œ- ˙- ™ #˙˙ ™™
f mp mf
˙ ˙™ -˙ -œ -˙™
? Œ ∑
¢
f mp
b -œ ™ n -œ ™™ b ˙˙˙ ™™™ ˙˙ ™™
œ™ œœœ ™™ ˙™ ˙
b˙˙ ˙™
& Œ ∑
f p
˙˙˙ ˙˙ ™™™ ?˙ ˙™ ˙™
{
81
& Œ ˙
Œ ˙ ˙™
°
& ˙™
∑
° œ œ bœ
& ˙™ œ ˙ œ œ ˙
œ œ
dim poco a poco
o
& ˙™ œ œ œ œ œ ˙™
˙ œ œ
dim poco a poco
B œ ˙ ˙™ œ œ bœ œ œ œ ˙
œ
dim poco a poco
˙™ bœ œ
? ˙™ ˙™ œ
¢ ˙™
f
dim poco a poco
& ∑ ∑ ∑ ∑ ∑
{
86
& ∑ ∑
132
∑ ∑ ∑
° œo œo œo œo œo œo œo
& ∑ ‰ J
b ˙- œ- b ˙- ™ p
pp
& b˙- ∑ œo œo ‰ Œ œo œo ‰ Œ
J J
pp b œ- b ˙- ™ p
œo œo œo
B œ- ∑ Œ bbOœ Oœ Oœ Oœ
˙- ˙- ™
pp p
? ˙- œ- -˙ ™ ∑ Œ ‰
bOœ Oœ
Œ ‰ bbOœ Oœ
¢ J J
pp p
œ #œ bœ ˙ œ b˙
& ∑ ∑ Ó
p
bœ œ ˙ œ
{
91
& ∑ ∑ ∑ Ó
o o o œo œo œo œo œo œo œo œo œo
o o
œo œ œ œo œo
° œ œ œ Œ ‰ J Œ
&
o œo ‰ Œ ˙o ™
& œ J œO ™™ bbœO ™™ nnœO ™™ #œO ™™
œO ™™ œO ™™
œo œo œo œo o
o o
o œ œ œo œo œo œo œo œo œo œo œo œo œo
B œ œ Œ
? bO O bbOœ Oœ Oœ bb Oœ bbOœ
¢ Œ ‰ b œJ œ Œ J J ∑ Ó Ó
œ™ œ bœ b˙™ œ œ ˙ bœ ˙™
bœ
& J
˙˙ ™™ bœ œ bœ bœ bœ #œ
{ & œ œ™
j
bœ b˙˙
œ
˙™
œ
96
133
o ˙ wo wo
° ˙™ 4 Ó 3
& 4 4 ∑ ∑
p
#˙ ˙ n˙ #w
4 Ó 3 ∑ ∑
& ˙O ™™ 4 4
p
4 Ó #˙ w wo 3
B ∑ 4 & 4 ∑ ∑
p
arco
? ∑ 4 w
4 w w w 3
4 ∑ #O˙ ™™
¢ w w
pp pp
˙ ˙
˙™
4 #Ów bbb˙˙˙˙ ˙
˙ #w
w 3 ˙˙ ™™
& 4 w b˙ ˙ #w
w 4 ∑ ˙™ œ™
w Œ™
pp
pp
œ ?4 w w <n> ˙˙ ™™ 3 ˙™
˙™ ˙ ™™
˙˙
4 w w ˙˙™™
{
101
& ˙ w w Œ 4 b˙ ™
b ˙™ ˙™
™
° ∑ ∑ ∑ ∑ ∑
&
& ∑ ∑ ∑ ∑ ∑
& ∑ ∑ ∑ Œ Œ B
<n> œO bb˙O ™™
pp
b O˙ O˙™™
? nbO˙ ™™ O˙ ™™ O˙ ™™ bOœ
¢
b˙ b˙™
˙ ™™ ˙˙ ™™ œ bb˙˙ ™™
& ˙˙œ™™ ˙˙™™ ∑ ˙ bbœœ œœ
bœ ™
p
œ b ˙˙ œœ bœ
˙™ ˙ ™™ ˙ ™™ ˙ ™™ ˙ ™™
? ˙˙ ™ ˙˙ ˙ ˙ ˙
{
107
 ˙™
™
˙™
™ ˙™
˙™
134
˙™
˙™
˙™
˙™
° ,
∑ ∑ ∑ ∑ ∑ ∑ 4
& 4
sord.
4
& ∑ ∑ bb˙O ™™ b˙O ™™ ˙O ™™ ˙O ™™ 4
mf
sord.
B ∑ &
˙o ™ ˙o ™ ˙o ™ ˙o ™ 4
4
˙O ™™ mf
 O ™ bb O˙ ™™ O˙™™ O˙™™ O˙™™ Oœ pizz.

? ˙ ™ Œ 4
4
¢ bœ
mf
 ˙ ™ b ˙˙ ™™ ˙˙ ™™™ b ˙˙˙ ™™™ n b ˙˙˙ ™™™

 ˙˙ ™™ b ˙˙˙ ™™™ ˙˙˙ ™ ,

& ˙˙ ™™ ∑ ˙™ ˙™™ b˙˙˙™™™ bn˙˙˙ ™™™ 4
4
 ˙™
mf
˙ ™™ ˙ ™™ ˙ ™™ ˙ ™™ ˙ ™™ ˙ ™™
? ˙ 4
{ ˙™ b˙˙ ™ ˙˙
™
˙˙
™
˙˙
™
˙˙
™ 4
˙™ b ˙™ ˙™ ˙™ ˙™ ˙™
112
rit.
sord. ˙ wo wo wo œo
° 4 Ó Œ Ó
&4
p dim. pp ppp
(sord.)
#˙ ˙ n˙ #w w œ
4
&4 Ó Œ Ó
p dim. pp ppp
(sord.)
4 #˙ w w w œ
&4 Ó Œ Ó
p dim. pp ppp
?4 œ œ œ
¢ 4 œ Ó ∑ œ Ó œ Ó Œ œ Ó
p pp pp
rit.
˙ ˙
4 bbb˙˙˙˙ ˙
˙ #w
w w
w œœ
& 4 # Ów b˙ ˙ #w
w w
w œœ Œ Ó
#w
pp ppp
p dim.
? 44 w #w œ
{
118
w
w
una corda
w
w
w
w
w
w
135
w
w
œ
œ
Œ Ó
III.
Allegro con moto q.=124
>-œ >-œ >-œ >œ. >-œ >-œ >-œ >œ. >-œ œ. >-œ œ. >-œ # œ. >œ. œ. >- . >œ- œ. >œ- œ.
nœ œ
° 9‰
&8 œ œ ‰ œ œ ‰ œ œ ‰ œ œ œ œ ‰ œ œ ‰ Œ™ ‰ œ nœ ‰ œ œ ‰ œ œ Œ ™ œœ ‰ œ œ‰
J J
ff with energy
>- .
>-œ >-œ >-œ >œ. >-œ >-œ >-œ >œ. > . > . >-œ œ. >œ. œ. >-œ œ. >œ #>-œœ œœ. n œœ # œœ
9
& 8 ‰ #œ œ ‰ œ œJ ‰ #œ œ ‰ œ œJ #-œœ œœ ‰ -œœ œœ ‰ Œ ™ ‰ #œ œ ‰ œ œ ‰ œ œ ‰ ‰ J
#
‰ ‰
ff with energy
9 j j #œ ™
& 8 ‰ #œœ- œœ- ‰ œœ- œœ. ‰ #œœ- œœ- ‰ œœ- œœ. #œœ- œœ. ‰ œœ- œœ. ‰ Œ ™ œ #œ œ œ œœ œ Œ <n>œ œ ‰ œ œ ‰
> > > > > > > > > > œ. œ. <n> œ. œ. œ. œ. œ. œ. œ. <n>œ. œ. œ. œ.
ff with energy > > > > >> > > >
(arco)
#>-œ >-œ >-œ >œ. #>-œ >-œ >-œ >œ. #>œ. œ. >œ. œ. > >
¢
? 98
j <n> œ œ j œ œ j <n> œ œ j œ œ <n> œ œ ‰ œ œ ‰ Œ ™ œœ. œœ. #œœ. œœ œœ bœœ œ. œœ. œ#œœ
J œ J >. >. . > > >. ˙™
>œ >œ > >œ >-
œ™
sf ff with energy sf sf sf sf sf sf
Allegro con moto q.=124
“” >- >- > . >œ. œœ.
œœ œœ >-œ
œœœ
>œ. >-
œœœ ‰ #œœœœ
>-œ
œœœ ‰
>-œ
œœœ
>œ.
œœœ
>œ. œœ. >œ. œœ. >œ. # œœ. nœœœ. n œœœ œœ >.
œœ ‰ ‰ #œ#n#œœœœ œœ. n>œœ. œœ.
9
& 8 ‰ #œœ œœ ‰ #œœœ œœ ‰ œœœ œœ ‰ Œ ™ ‰ #œœœ nœœ ‰ œ œ ‰ œ #œ œœ ‰ œœ œœ ‰
J J J
ff with energy sf
# >-œ >-œ >- >œ. >- >-œ >- >œ. # >œ. œ. >œ. œœ. >œ. >œ. > ## >œœ. œœ. >œ. œœ.
? 98 œj ##œœ œœ j œœœ œœ j ###œœœ œœ j œœœ œœ ##œœ œœ œœ œ ‰ Œ™ # œœœ. >œ. >œœ. nœœ. >œ. #œœœ. œœ
{ œ J œ œ J ‰ œ ##œœœ #œ œ œ #œ œ œ #>œ.
œ œ #œ œ ‰ œ‰
1
>œ
sf
>œ
sf
>œ
sf
>œ
sf
# œ œœ ™™
>
sf sf sf sf
#>-œ œ. >
° œ 4
& œ œ ‰ Œ™ ‰ œ œœ j ‰ ‰ j ‰ ‰ Œ j j j ‰ ‰ j ‰ ‰ ‰ j Œ™ 4
. >œœ >œœ œ. œœ
>-
œ. >œœ >œœ œœ
>-
œœ
>-
œœ
.
>-œ # œ.
œ œ ‰ Œ™ ‰ nœ. j ‰ ‰ j ‰ ‰ Œ j j j ‰ ‰ j ‰ ‰ ‰ bœ Œ™ 4
&
> n œ. b>œ n>œ œ. b>œ- nœ. >œ #>œ bœ-. n>œ. œ-. >œ-. >. 4
> >
>j >j .j >- .j >j >j >- >- .j

& #œœ œœ ‰ Œ ™ Œ™ B ‰ ‰ b œœ ‰ ‰ Œ b œ b œ œ ‰ ‰ œ ‰ ‰ ‰ b œ n œ Œ™ 4
4
œJ J œJ œ œJ œJ œJ œ œ œJ Œ™
>. . >o >o o. >-o o. >o >o >-o >-o o.
> . bœ. b œ œ. b >œ. œ. œ. >œ. .
¢
? œ. #œ ‰ Œ ™ ‰ œ#œ œ nœ.
>nœ œ ‰ œ œ ‰ Œ ™
œ. ‰ . ‰ ‰ ‰ œ >. b>œ
œ Œ™ 4
4
> . >œ. . . >. . > œ. œ. > œ. œ. > œ. œ.
:“; >. .
#œœ œœ loco 4
& # œœ œœ ‰ Œ ™ ‰ bœœœ nœ ‰ œ ‰ Œ™ bbbœœœœ ‰ nœœ ‰ œœ ‰ ‰bbbœœœ œœœœ œ Œ™ 4
.> n œ. bb œœ. œ n œ œœ. œ œ œ œ
>. œ. b >œ. n œ. >œ. œ.
œ
>. œ. .> œ. œ.
> . > . sffz > >
>. .
? ###œœœ œœœ ‰ Œ ™ ‰ #nœœ. œ nœ Œ™ 4
{ > . œ œ œ œ œ ‰ nœ ‰ œ bœ Œ ™ 4
>. œ b œ. >. œ œ. >. œ b œ. >. œ œ. >. œ œ. >. n œ œ bœ
6 . . . . . . >. >.
136
q. = q
>. .
° 4 œ œ # œ œ œ.
&4 ‰ Ó ∑ ∑
3
J
f
.3 3 3 . 3 . 3 . 3
4 . . . 3 3
. 3 3 3 3
& 4 bnœœ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ
> . n œ . œJ œ . œJ œJ œ . œJ œ . œJ œ . œJ œ . œ . œJ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. n œœ.
. . . . . . .
f mf
B 44
3 33 3 3 3 3 3 33
nœ. œ. œ. œ. œ. œ.
#œ. œ œ. œ. œ œ. œ. œ œ. œ. œ œ. #œ. œ œ. œ. œ œ. œ. œ œ. œ. œ œ. #œ. œ œ. œ. œ œ. œ œ œ œ œ œ
> 3 3
f mf
n>œ pizz. arco
3 . .
? 44 J ‰ ? #œ œ œ Œ #œ œ œ ? ‰ #œ. #œ nœ. #œ nœJ ‰ Œ
¢ #œ.
f 3
mf
q. => q
n œ. œ #>˙ œ #œ œ nœ ™ œ
4 nœ #œ œ. Ó Œ ‰ œ #˙ nœ ™
&4 J
3
n œ. œ œ œ. œ 3
f f
# # œœ
? 44 n œJ œ œ. œ œ œ 3
{
10
‰ Œ Ó J ‰ Œ Œ &‰
œ
j #>˙ œ #œ œ nœ ™ œ
o
-œ -
œ -œ # œ >œ. - # œ œ n œ. # œ œ œ # œ œ . . . . . . . . .
° #œ- œ . 3 3 #œ- œ œ J ‰ #œ œ œ œ#œœ œœ œœ œœ œœ
& ‰ œ œ œ ‰ œ œ œ œ œ. œ. j ‰ ‰ œbœnœ#œ œ ‰ œ œ œ œ
3 3
J
3 3
J œ. . .>. . 3 3
J 3 3 3 3
f 3 mp f p
3
3 3 3 3 3 3 3 3 3 3 3
œ œ. œ. œ. œ. œ. œ. œœ. œœ. œœ.
3
& #n œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ n œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ. .
. . . . . . . œ. œ. œ. œ. œ. b œœ. . . . . . >. . . >. . . >. . . . . . . . . . . . . 3 3 3
>
fp mf p
3
. . . . . . . . . . . . >. . . . . . >. . . >. . . >. . . . . . . . . . . . . . .
B #œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ nœ œ œnœœ#œœ œœ #œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ #œœ œœ œœ#œ œ œ &œ. œ. œ. œ. œ. œ.
3 3
. . . 3
3 3 3 3 3 3 3 3 3 3 3
fp 3 mfp
o.
3 3
j 3 3
j
.
. bœ œ. œ # œ. 3 3
j 3 3
j j # œ # œ œ œ œ œ. # œ.
? ‰ œ œœ œœ ‰ œœ œœ œœ ‰ œ . œ J ‰ Œ ‰ œœ œœ œœ ‰ œœ œœ œœ #œœ ‰ ‰
¢ œ- - - - 3 - - - - . œ.
3
p mp mf 3
œ bœ œ œ œ ™ #œ nœ ™ œ#œ œ œ nœ bœ nœ
nw œ
œ bœ œ œ œ™ nœ ™ œ #œ œ œ#œ œ œ
& œ J
3 3
3 3
{& nw œ bœ œ œ œ™ #œ nœ ™ j œ #œ œ œ nœ bœ nœ
œ nœ ™ œ # œ œ œ #œ œ œ
13
137
>
° #œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
>>>>
#œ. œ. œ. œ. œ. œ. œ. >œ. œ. œ. œ. œ. . . n>œ #œ. œ. nœb œ. bœ. nœ. #œ. œ.
œ
‰ œ ∑
&
3 3 3 3 3 3 3 3 3 3 3 3
mf f cresc.
>
. . . . . . . . . . . . . . . . >. >
. n>œ. œ. œ. . . .
nœ œ œ œ. . >œ #œ. œ. nœb œ. bœ. 3
& #œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ ‰ nœ nœ. . œ.
#œ ∑
3 3 3 3 3 3 3 3 3 3 3
f cresc.
. > . 3
œ. b>œ. >œ. >œ. œ. œ. œ. œ. œ. œ. œ. œ. ‰ œ œ. œ #œ œ. ‰ bœ B
3
. . . . . . . . . . . .
& œœœœœœœœœœœœ . bœ. nœ #œ. œ. ∑
3 3 3 3 3 3 3 3 3 3 .
f cresc.
>. . . >. . . >. . . . . . . . .

? Œ #>œ. œ. œ. œ œ œ# œ œ œ B # œ œ œ œ œ œ œ œ œ œ. œ. œ. Ó ?‰
3 3
∑
¢ bœ. b œ n œ #œ nœ.
p
3 3 3 3 3 3 3
f
. . .
œ >
#œ bœ œ nœ œ. œ. œ # œ. œ. > .
#˙ #œ œ œ >
nœb œ bœ. nœ. #œ. œ. œbbœœ b >œ nœ >œ >œ
& ‰ bœ bœ nœ #œ œ œ
J
nœ œ
J œJ bœœ œ nœœ
J
3 3 3
3 3 3 3 3
3
mf sub.
nœ œ . . >œ . 3 3 3 3
œ b>œ œ 3 œ >œ œ
œ bœ œ bœ œ œ œ nœ ‰ œ œ #œ œ. Œ ?
{
17
& #œ
#˙ #œ
œ
3 3 3 3 3
n œ. #œ. œ. >œ J J >œ J J
° 3 3 3 3 3 3
& ∑ ∑ ‰ j ‰ ‰ œ œ œ ‰ #œ œ œ #œ j‰ ‰ ‰
# œ. œ. œ. œ. b œ. œ. œ. . . . . # œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
mf
> > > ≤ ≥3

.œ œ. b œ. œ. œ. œJ. .œ œ. b œ. œ. œ≤. œ 3 ≤ ≤ ≥3 3
j‰ ‰ 3 ‰ 3 3
j‰ ‰ 3 ‰ 3
& ‰ ‰ .œ . œb œ
. œ œ #œ nœ
œ œ
œ œ
œ œ
œ œ
œ œ
œ œ
œ œ
œ œ
œ œ
œ #œ
œ œ œ œ œ œœ œœ œœ œœ œœ œœ
3 3 3
œ. > . > . œ. œ œ. . . . . . . . . . . . . œ. œ. œ. œ. . . . . . .
f 3 . > mf
B ∑ ∑ ∑ Ó Œ #œ
f sinister
? j
¢ ∑ ∑ #œ œ œ œ œ œ #œ
#œ ™ #œ
f sinister
>œ
b œ b >œ nœ >œbœ >œ nœ >œ
b œ b >œ nœ >œbœ >œ nœ nnœœœ
& œJb œ nœ œ œ œ œ œ œJb œ nœ œ œ œ œ œ nœ Œ Ó ∑
J J J J J J
3 3 3 3 3 3 3 3
mf sub.
3 3 3 3
? 3
œ b>œ œ 3 œ >œ œ 3
œb>œ œ 3 œ >œ œ #œ
{
21
>œ
J J >œ J J >œ J J >œ J J #œ-
138
˙™
# ˙- ™
∑
° .
nœ. œ. œ. œ. #œ. #œ œ. œ. œ. . . . œ. œ. #œ. œ™
‰ œœ œ ‰
#œ. œ. ‰ nœ
& # œj ‰ ‰ œJ. œ
J œ
. p sub. 3 3
mf sinister
j ‰ œ. j
. œ. œ. œ. . . . . . .
‰ œœ œ ‰ œœ œ œ™
& #œœ. ‰ #œ. œ. ‰ nœ. œ. œ. œ. #œ. #œ bœ œ nœ
3 3
J
p sub. mf sinister
3 3 3 3
B #œ œ œ #œ œ œ #œ nœ bœ œ. œ œ œ. œ œ œ. œ œ œ. œ œ œ. œ œ œ.
<#>œ #œ #œ œ &
p sub.
? #œ œ #œ œ #œ B nœb œ œ. œ œ œ. œ œ œ. œ œ œ. œ œ œ. œ œ œ.
¢ <#>œ œ #œ #œ œ œ
3 3 3 3
p sub.
.
#œ œ œ œnœ œ œbœ œ nœ œ œ#œ#œ œ œnœ œ # œ œ œ n œœ œœ
‰ #œ œ œ ‰ ‰ #œnœ œ ‰ œ ‰ œ ‰ œ
& ‰ ‰ ‰ œ œ ‰ œ
p3 3 3 3 3 3 3 3 3
œ
?
{
25
∑ ∑
>œ
° œ œ œ œ bœ œ œ #œ #œ n œ #œ œ œ œ#œ œ nœ#œ 3 3 3 3
& ‰ J #œ. #œ. œ. œ. œ œ. nœ œ œ œ œ œ
10
œ. œ. œ. œ. œ. n œ.
f mp
œ œ œ #œ #œ #>œ #œ œ œ#œ 3 3 3 3
& œ œ œ nœ ‰ J nœ œ#œ#œ œ
#œ. œ. œ. n œœ œœ œœ n œ. œ. œ. œ. œ. œœ.
10
. . .
f mp
3 3 3 3 œ
#œ # œ
& œ bœ œ. œ œ œ. œ œ œ. œ œ œ. bœ œ œ. œ œ œ. nœ œ œ. œ œ œ. œ œ œ. œ œ œ#œ#œ œ œ œ œ #œ J ‰ Œ Ó B
6
3 3 6 f
bœ . œ . œ . œ . œ . œ . 3 3 6
B œ œ œ œ œ œ œ œ œ œ œ œ & nœ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ #œ œ #œ œ #œ nœJ ‰ Œ Ó ?
¢ 3 3 3 3
. . . 6
f
œ œ
œ #>˙ œ#œ œnœ ™ œ
œ ‰ œ ‰ œ œ œ #˙ nœ ™
& ‰ œ œ ‰ œ œœ ‰ Œ ‰ œ
J
œ 3
œ f
3
?
{
28
139
&‰
œ
j #>˙ œ #œ œ nœ ™ œ
o
. #œ œ œ#œ œ
œ-
-œ œ- #œ œ- # œ œ œ . . . . . . . . .
° #-œ œ - œ J ‰ #œ œ œ œ #œœ œœ œœ œœ œœ
& ‰ œ œ œ ‰ œ œ œ ‰ #œœ œ œ œ
J J J 3 3 3 3
3 3 3 3 3 3
f mp f p
3
3 3 3 3 3 3 3 3
nœ œ. œ. œ. œ. œ. œ. œœ. œœ. œœ.
& nœ œ œ œ œ œ œœ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ n œ œ. .
# œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. b œ. œ. œ. . . . . . . . . . . 3 3 3
>
f mp mf p
. . . 3
. . . . . . . . . . . . >. . . œ. œ. œ. œ. œ. œ. œ. œ. œ. œ œ œ #œ. œ. œ. œ œ œ œ. œ. œ.
B #œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ #œœ œœ œœ œ œ œ œ œ œ œ œ œ #œ. œ. œ.
3 3 3
3 3 3 3 3 3 3 3
f mp mfp o.
#œ#œ nœ nœ œ œ. # œ.
? ‰ b œ nœ œ #œ nœ #œ œ 3
b œ nœ #œ nœ œ #œ nœ.
œ ‰ œ J ‰ ‰
¢ #œ œ bœ nœ œ #œ #œ nœ #œ œ bœ nœ nœ #œ #œ.
f mp mf 3
bœ™ œ#œ nœ œ nœ bœ nœ
nw bœ™ œ #œ œ œ #œ œ œ
& J
3 f
j 3
{& nœ
31
#œ œbœ nœ œ #œ
œ b œ nœ œ #œ nœ #œ œ bœ
b œ # œ n œ # œ œ œ n œ n œ # œ œ bœ nœ #œ
nœ œ #œ nœ œ œ nœ bœ nœ
q = q.
>. >. >
° #œ. œ. œ. œ. œ. œ. œ. œ. œ. #œ. œ. œ. nœ. œ. œ. b œ œ. œ. œ œ. œ. œ œ. œ. 3 3 3 3
6 >œ. œ. b >œ œ. œ.
& œ. œ œ. bœ œ. œ >œ œ. œ œ. œ. œ 8 œ.
3 3 3 3 3 3 3 3 . > . . > .
mf f
. . . . . . . . . . . . . . 3 3 3 3 3 3 3
6
& #œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ. bœ. nœ œ. œ. œ œ. œ œ. œ œ. œ œ. bœ œ. œ œ œ. œ œ. œ. œ 8 œ œ œ. bœ œ. œ
3 3 3 3 3
> . > . > . . > . . . . >. > .
mf f
.
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œJ > > >
œ. œ. œ. bœ œ. œ. œ œ. œ. œ. œ. œ. 6 œ œ
B ‰ Œ Ó 8 . >. œ. bœ œ.
3 3 3 3 3 3 3 3 > œ.
mf f
. . .
? #œ. œ. œ. œ œ œ œ œ œ nœ ‰ Œ 3
‰ ‰ œ. œ
3
œ. b>œ œ. 68 œ œ. b>œ œ.
¢ Œ 3 3
J
3
Ó Œ
J > J J > J J
p mf 3
f
bœ q = q.
b˙ bœ œ œ >
6 œ bbœœ b >œ nœ
& J ‰ Œ Ó ∑ 8œ nœ œ
J J
f
j ?6 œ b>œ
{& bœ
34
b˙ bœ
œ œ ‰ Œ Ó
140
∑ 8œ
>
J œ
J
>. œ. œ. # œ.
° bœ œ. œ. J
& ‰ ‰ ‰ Œ™ ∑ ∑
mp
>œ. œ. >œ.
œ. œ. #>œ. œ. œ. n>œ ™ œ
œ. œ. œ. bœ œ œ™
& bœ. œ. œ. œ.
> mp
B bœ j ‰ ‰ Œ™ ∑ ∑
œ. œ. nœ.
>. œ. œ. œ.
? j ‰ ‰ Œ™ ∑ ∑
¢ bœ. œ. œ. œ. œ. œ. nœ.
>
>œ b >œ nœ n>œ >œ >œ >œ >œ b >œ

& œJ bbœœ nœ œ œ
œœ #œ
œ œ
nœ
œ œ
#œ
œ œ œ bbœœ nœ bnœœ
J
J J J J J J
sempre p
? œ b>œ œ n>œ œ >œ œ j

œ b>œ j
{
38
>œ
J œ
J n>œ J œ
J >œ J J œ
> œ
> . .
° . œ. . >œ. > œ. b œ œ > bœ. . bœ. œ. œ. b œ. œ
& ∑ ∑ ‰ œ œ
œ. œ œ
œ. œ. œ. bœ. œ. . œ
œ
mf
. >œ.
.
bœ œ œ œ. . . . œ
& ‰ œ. œ. œ. nœ œ J ‰ ‰ Œ™ ∑ ‰
œ
b œ œ œ œ
. bœ. œ. œ. bœ. œ.
mf œ. . . .
mp
B ∑ ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑ ∑
¢
>œ >œ >œ >œ >œ >œ >œ b >œ >œ > œ >œ >œ œ
œ bbœœ œ bnœœ œ œœ œ bbœœ œ bnœœ œ œœ œ bbœœ nœ bnœœ œ
œ œ
œœ œœ œ
& J J J J œ œ
J J œ
j j j nœ œ œ. œ œ
{ ? œ b>œ j
œ œ œ b>œ j
œ œ œ b>œ œ
j
J >
œ
J > œ. œ.
.
42 >œ > > >œ >œ
141
>œ. œ. . >œ ™ œ b œ. œ. b œ. œ. œ. œ.
° bœ J ‰ ‰ Œ™
& ∑ ∑
f
& œJ ‰ ‰ Œ ™ ∑ ‰ b>œ œ bœ b˙ ™
œ œ œ™ œ
f
>. œ. . > >œ >
f
>œ. > .
B ∑ & œ. bœ. œ. bœ. œ. œ. J ‰ ‰ Œ™ ∑ B ‰ >œ œ œ œ bœ.
f
? ∑ ∑ ∑ ∑ ∑
¢
>œ > > > > > >

& œJ bœ
b œ œœœ œ bœœœ bœ j bœœœ bœ œœœ œ bœœœ bœ œœœ œ j j
J J b œœœ b œ J J J J b œœœ b œ œœœ
f > > > œ
? œ >œ œ >œ œ b>œ œ œ >œ œ œ >œ œ >œ œ b>œ œ

{
47
>œ
J J J J
>œ
J J
>œ
J J J J
° >
b-˙
>- >œ. >œ. >œ. b >œ. œ. n>œ. œ.
& ‰ œ. bœ. b>œ œ. œ. œ œ. œ. œ. œ. œ.
>. œ. >œ. œ.
& ∑ ˙ œ œ œ. œ. bœ. œ. œ. bœ. œ. bœ
>- >- >. > >
> >- >œ. >œ. >œ.

>
B œ. ‰ ‰ Œ™ b-˙ œ b>œ. œ. œ. >œ. œ. œ. œ. œ. œ.
J
>- >- >œ. œ. œ. >œ.

? ˙ œ œ. bœ. <n>>œ. bœ. >œ.
œ. bœ
∑ œ.
¢ >.
>œ > > > >

& bœœJ bœ œœœ œ bœœœ bœ œœœ œ ‰ bœœœ ‰ bœœœ ‰ bœœœ ‰ nœœœœ
J J J > >œ >œ
? œ œ
{
52
J œ œ
j
œ œ
j
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142
‰ œ
œ
œ
œ
œ bœ
œ bœ
œ
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‰
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œ
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œ
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j
>. œ. b œ. b œ. b>˙- >œ-
° b œ bœ. bœ. œ™ . ˙™
& ‰ bœ. bœ
ff
& bœ. œ™ ‰ œ. bœ. bœ. b˙- œ ˙™

> b œ. bœ. b œ. bœ. >-
ff >
b >œ.
B J ‰ ‰ Œ™ ∑ ∑ ∑
? j j bœ. j >. œ. >.

œ. bœ
¢ b>œ œ. œ œ bœ. bœ. œ. bœ. J bœ. œ. bœ J
œ
J . œ.
j
ff agressivo > > > >
b >œœ j
œ™ œœ ™™ œœ ™™ bœ ™ j
& ‰ bœ ‰ bœ
bbb œœœ ™™™
œœ œœ #œœ nœœœœ
b >œœ ™™ œ™ bb œœœ œœ ™™ œœ n œœ n# œœ .
ff >- >- >- >.
? j j j j j
{ j bœ bœ bœ bœ œ bbœœ œ
œ
œ œ bœ
œ
j
bœ œ œ œ bœ bœ œ bœ bœ bœ œ œ œ bœ
œ
56 (bring out)
b >˙ ™ >˙™
.
° b œ bœ. bœ. bœ . œ. b œ. b œ.
& œ.
J ‰ bœ. bœ
œ. bœ. bœ. b>˙ ™ >˙ ™

& bœ. j ‰
b œ. bœ. bœ œ. b œ. bœ.
B ∑ ∑ ∑ ∑
? bœ œ.
j
œ bœ.
j
œ. bœ. bœ. b>œ. œ. >œ. œ. >.
œ j j
¢ >. >. œ b œ. J J J œ. œ œ.
> > >.
>. >œ. .
n>œ œ ™™ >œ ™ >. >œ. œœ. n œœœœ œœ œœœ
#œœœ ™™™ bb œœ œœ œ œ
& #nœœœ ™™™ ‰ #œœœ œœœ ™™ ‰ bbœœ œ œœ ‰ J
J
>œ ™
? j j j j
{
60
bœ
bœ
œ
œ
j
œ
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œ bœ
œ bœ
bœ
bœ bœ
œ bœ
143
bœ
bœ
bœ
bœ
œ
œ
œ
œ
œ
œ
œ
œ œ
j œ
œ
œ
œ
j &
pizz
° ‰ œj œ œ œj œj œj œj œ œ œj œj œj
& œœ ‰ œœ œœ ‰ œœ ‰ œœ ‰ œœ ‰ ‰ œœ ‰ œœ œœ ‰ œœ ‰ œœ ‰ œœ ‰
>œ
mp sub.
>œ œ >œ >œ >œ >œ >œ œ >œ >œ >œ
>œ. œ. œ. >œ. œ. œ. >œ. œ. >œ. œ. >œ. œ. >œ. œ. œ. >œ. œ. œ. >œ. œ. >œ. œ. >œ. œ.
& œ œ œ bœ œ œ nœ œ bœ œ nœ œ bœ nœ œ œ bœ œ nœ œ bœ œ nœ œ
mp sub.
>œ. œœ. œœ. #>œœ. œœ. œœ. >œ. œœ. #>œœ. œœ. >œ. œœ. >. œœ. œœ. >œ. œœ. œœ. >œ. œœ. #>œœ. œœ. >œ. œœ.
B œ œ œ #œœ œ œ œ
mp
? ∑ ∑ ∑ ∑
¢
>œ ™ œ œ œ œ >œ ™ œ œ œ
œ œ œ œ
& ‰ œ ‰ œ œ ‰ œ
mf sub.
œ œ
{
64
& ‰
œ œ œ™
>
‰
œ œ œ œ œ
œ œ œ œ™
>
‰
œ œ œ œ
j œj œj
° ‰ œœ ‰ œœ œ œ œ œj arco
& œ œ œœ ‰ œœ ‰ œœ ‰ œœ œœ bœ ‰ ‰ Œ™ bœ
œœ > œ. œ. b œ. n œ
>œ >œ œ >œ >œ >œ œ
f
f
œ. .
>œ. œ. œ. >œ. œ. œ. >œ. œ. >œ. œ. >œ. œ. œ. œ. b œ ™

& œ nœ œ bœ
b œ nœ œ œ bœ nœ œ bœ œ. ∑
f
>œ. œ. œ. >œ. œœ. œœ. >œ. œœ. #>œœ. œœ. >œ. œœ. œ. nœ. œ. bœ ™ œ œ. œ. b œ. #œ.
B #œ œ œ œ œ œ œ.
f
? ∑ ∑ ∑ ∑
¢
> > > > > > > >

œ œ
>.
œœ >œ. >œ. >œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ
. > œ œ œ œ œ œ œ
& J ‰ œJ œ œ
f
j j >œ >œ œœ j
{& >œ
68
œ. >œ. >œ.
>
‰ ‰ œœ
œ œ œ œ œ >.
>
œ
>.
œ
>.
144
œ œ œ J
‰ #œœ
>
œ
>œ
œœ
œ. œ. œ #œ nœ #œ nœ œ bœ œ
° œ. œ. b œ. #œ nœ #œ nœ
& j ‰ ‰ Œ™ œ. nœ œ œ œ œ œ œ œ œ œ œ œ
œ. æ æ æ æ æ æ æ æ æ æ æ æ
pp sub.
nœ ™ œ œ
œ. œ. œ
æ æ œ #œœ nœœ #œœ nœœ œœ œ œ œœ #œœ #œœ œœ
bœ. æ
& œ. œ. æœ æ æ æ æ æ #æœ næœ æ æ æ æ
œ. pp sub. mf
. bœ™
B nœ œ. œ. bœ ™ bœæ œæ æ j j ‰ œ œ œ j
bœ œœ œœ
.> b œœ. œœ œ
>. n œ. b >œ n œœ.
pp sub. >
œ. œ. b>œ œ. >. j j
? ∑ ‰ œ. œ œ œ œ ‰ œ œ œ œ
¢ J œ œ. œ œ. œ. œ. œ
f pp sub. > > >
>œ >œ > > > > > >

œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ b œœ b œ > >
œ œ œ œ J œ bœœ bœœ bœœ bœœ j
& J J bœœ bœœ
>
pp sub.
j >
? œœ
œ
{
72
& ‰ œœ
> œ
œœ
> œ
œœ ‰
# œœ
> œ
œœ
> œ
œœ ‰ œœ
œ œœœ
> œ > œ
‰ œœ
>œ J œ
° œ œ #œ nœ #œ nœ œœ œœ #œœ nœœ #œœ nœœ œœ œœ #œœ nœœ #œœ nœœ œœ œœ #œœ nœœ #œœ nœœ
& æœ æœ æœ æœ æœ æœ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ
sempre cresc. f sempre cresc. marcato e pesante
œ œ œ œ œ œ næœœ œæœ #æœœ næœœ æœœ #œœ næœœ œæœ #æœœ næœœ æœœ #œœ næœœ œæœ #æœœ næœœ æœœ #œœ
& æœ nœæ #æœ næœ æœ #æœ æ æ æ
B ‰ j ‰ j ‰ j ‰ j
œœ bœœ œ œœ œœ œ œ œ. œ œœ œ œ œœ œ. œ œœ. œœ œœ
>. . b >œ . >. nœ. >œ >. œ.
f sempre cresc. >œ . >
marcato e pesante >
.
sempre cresc.
? ‰ j j j j
¢ œœ œœ œœ œœ ‰ œœ œœ œœ œœ ‰ œœ œœ œœ œœ ‰ œœ œœ œœ œœ
>. . >. >. . >. >. . >. >. . >.
>œ œ >œ œ >œ œ >œ œ

>œ œœ >œ œœ >œ œ >œ œ b œ # œœ œ œ œœ œ b œ # œœ œ œ œœ œ
& #œ nœœ œ œœ bœ #œœ œ œ œœ œ
> >
? ‰ œ>œ œœ >
‰ œœ œœ >
‰ œœ
>
‰ œœ
{
76
œ J œ œ J œ
145
œ
j
œœ
> œ
œ
j
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> œ
>œ.
œ œ #œ œ #œ œ œ œ œ œ nœ #œ . ™ .
œ œ. œ. œ œ. œ. œ™ œ™ ˙™
° œ. œ œ
& æœ æœ æœ æœ æœ æœ œ œ œ œ œ œ
æ æ æ æ æ æ
sf ff
œ œ œ œ œ œ œ œ œ #œ œ n œ œj j œ ™™ #œ ™
& næœ #æœ æœ æœ #æœ œæ næœ æœ æœ æœ æœ æœ œ ‰ œ œ œ œ œ œ œ œ œ
œ œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ
œ.
œ œ œ œ œ œ
œ œ œ œ œ œ
œ
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>œ > > > > >. . . >. . . > >œ ™
sf ff
. œ™ >œ. œ. >œ. œ. >œ. œ.
j j >. .
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B ‰ œ œ œ œœ ‰ œ œ œ
œ #œ. n>œ . bœ. œ. œ .
>. >
sf
>
ff
>œ >œ >œ

? ‰ œ j ‰ j nœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ
¢ œ œ œ œœ b œœ. œœ. œœ b œ. >œ. œ. œ. >œ. œ. œ. œ. œ. >œ. œ. >œ. œ. >œ. œ. œ. >œ. œ. œ.
œ œ œ J
>. #œ. n>œ . > >
sf ff
>œ œ >œ >œ >˙ ™

nn -œœœ bb -œœœ
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
bb œœ œ œœ œœ œ bb œœ œ nn ˙˙˙ ™™™ . . > - œ-

. œ. œ œ œ. œœ b œœ b -œ
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
œ nœœœ
& J œ bbœœ œ ‰ œ œ œ œ œ œœ bœ bœœ
bb œœ œ > œ
> mf
ff f
œ>œ >œ ™ >- . .

œœ™™ œœ œœj ‰ œœj ‰ >œœ ™™
? ‰ j œœ œ
>œ œ
œ œ œ œ™ œ œ#œ
{
80
œ
>
œœ >œ œœ
> œ
œ™
>œ ™
sf
œ˙
˙™
™ œ™
œ™
(bring out) >
sf
œ
œ
œœœœœ
>
° œ. œ. œ™ œ œ. œ. œ. œ. œ™ œ™
& œ. œ.
œj j
& œœ ‰ œ œ œ œ œ œ œ œ œ œ œ™ œ™
œ. œ œ. œ. œ œ. œ œ. œ œ.
>œ >. >. >. >.
>. œ. œ™ œ œ. œ. œ. œ. œ™ œ™
B œœ œ. œ.
>œ. œ. œ.
? œ œ œ œ œ
¢ >œ. œœ
.
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.
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>. . . >. . >. >. >. . .
>˙ ™
˙ ™™ œ. œ. œ. œ. >œ b -œœ -œ
∏∏∏∏∏∏
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
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& ˙˙ ™
n ‰
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ff f mf
>- . .
? >œ. œœœ œœj ‰ œœj ‰
>œœ ™™
{ œ œ œ œ™ œ™
>. œ
>.
86
œ™
>
˙™ (bring out) >œ ™
sf sf
146
>œ
° œ œ æ æ æ
& æ æ æ bœ œ j ‰ ‰ j ‰ ‰ Œ j j ∑
> œ œœ
.> œœ
.> œ. œ. œ.
> >
(ff) f
æ æ æ æ æ æ
& >œ œ œ
bœ œ œ œ ∑
œ.
j ‰ ‰
œ.
j ‰ ‰
> œ >. œ n œ. >. œ œ. > >
(ff) mf
>œ
œ j
B æ æ œ
æ b>œæ œæ æ œ. ‰ ‰ Œ™ ∑ ∑
œ >
(ff)
> b>œ
? œ œ œ œ Œ™ Œ™
¢ æ æ æ æ æ æœ œ œ nœ. œ. œ œ. œ œ bœ.
>. œ. œ œ.
>. > >
(ff) f mf
- #œ >œ
bb œœœ nn œœœ ###œœœ bb œœœ œ >œ
& ‰nbbœœœ œ ‰ Œ™ bbbœœœœ ‰ bbnœœœœ ‰ œœ ‰
> œ œ
œ
(ff) > nœ > œ
f mf
? œ bœ œ œ bœ œ bœ œ œ bœ Œ™
{
89
œ bœ n>œ œ
nœ nœ > œ œ
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° ∑ ∑ ∑ ∑ ∑ ∑
&
& ‰ bœ j
œ. nœ. œ. œ. œ. œ. œ. œ œ. œ. œj
‰ ‰ ∑ ∑ ∑
> >œ .
sfp p
B ∑ ∑ ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑ ∑ ∑
¢
>. œ. . œ
& ‰bbbœœœœ œœœœ n˙ ™ œ™ Œ™ Œ™ œ œ œ œ œj ‰ ‰ Œ ™ œœœœœ
>. œ. >. n œ. œ. œœœœ .
sfp
>œ . . œ.
? ‰ ‰ œ œ œJ. ‰ ‰ Œ ™ Œ™ œ œ. . œ. œ Œ™ œ. œ. J ‰
{
93
œ.
> œ
“‘ .
œ. œ
.
œ. œ J ‰
147
‰ œ. œ
. œ.
œ
>.
‰
pizz.
œ
° œ
& ∑ Œ™ œ œ J ‰ ‰ œ bœ bœ ‰ ‰ #œJ j ‰ ‰ œ ‰ ‰ bœ œ
#œ œ
mf
pizz.
œ œ œ bœ œ œ œ
& ∑ œ œ J ‰ ‰ J ‰ ‰ ‰ ‰ ‰ ‰ bœ j ‰ ‰
œ œ œ J bœ
mf
B ∑ ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑ ∑
¢
>œ.
>œ > > .
œ œ. >œ œ œ. œ ? œ. œ. ‰ œ. bœ ‰
>œ. >œ. >œ. bœ. #>œ. j n>œ. >œ. b>œ. >. >.
& . œ. bœ. œ. œ. #œ. ‰ J œ. ‰ bœ œ
p mp
. œ. œ.
? œ Œ™ j
{
99
J ‰ œ
. œ. œ
>. œ
.
‰
œ
>.
œ. ‰ œ œ œ
>. œ >. œ >. œ
. . .
nœ.
# œ. n œ. >
œ. ‰ j bœ. bœ. œ
> b œ.
>
> >.
° œ œ œ œ œ œ j
& J ‰ ‰ Œ™ J ‰ ‰ œ
‰ Œ™ œ ‰ ‰ bœ œ œ ‰ ‰ Œ™
f mf
œ f
œj œ œ nœ œ
J ‰ ‰ nœ œ œ œj
& #nœœ ‰ ‰ ‰ ‰ #œJ j ‰ ‰ ‰ ‰ nœJ j ‰ ‰ bœ ‰ ‰ Œ ™
nœ mf #œ nœ n œœ
f f
œ œJ
pizz. œ
B œ œ ‰ ‰ ∑ Œ™ ‰ œ ‰ ‰ œ j ‰ ‰ j
œ ‰ ‰ #œj ‰ nœj
J œ
mf mf f
pizz.
œ #œ nœ œ bœ bœ œ ‰ ‰ Œ™
? ∑ ∑ J ‰ J ‰ ‰ J J ‰ J ‰ J ‰ J
¢
mf f
. >. > n>œ. >œ.

>œ. . >œ. . >œ. . >œ. # œ n œ . # œ. >œ. >. >. >œ. >. >.
? œ.
> œ ‰ #œ ‰ #œ œ nœ ‰ ‰ J œ. ‰ bœ œ .œ #œ ‰ ‰ nœJ
.
mf p mf (mf)
#>œ. n>œ. >œ. >œ. >. >. >.

{? œ. œ
> œ ‰ œ . ‰
œ œ œ
>. œ >. œ >. œ ‰ ‰ J #œ. nœ. J ‰ J œ. bœ œ ‰ ‰ #œJ nœ
. . . . . #œ. nœ
104 “
‘ > >
148
° œ œ œ
∑ œ ‰ ‰ œ ‰ ‰ J œj ‰ ‰ œ œ 3
œ ‰ ‰ œ
& ∑ 4
mf sempre dim.
#œ œ
& ∑ ‰ ‰ J #œj ‰ ‰ œ ‰ ‰
bœ œ ‰ ‰ bœJ bœj ‰ ‰ #œ ‰ Œ™ 3
4
mf
#œ
sempre dim.
B j ‰ j ‰ j ‰ ∑ ∑ ∑ ‰ ‰ œ j ‰ ‰ 3
œ bœ J œ 4
bœ
mf mf
? ∑ œ ‰ #œ ‰ ‰ nœ œ ‰ œ ‰ bœ ‰ nœ ‰ bœ ‰ ‰ œ #œj ‰ nœj ‰ œ 3
¢ J J J J J J J J J œ 4
mf sempre dim.
>. >œ.
? œ. bœ. ‰ b>œ. œ b>œ. ‰ ‰ >œ. >œ. >œ. >
‰ bœ. >œ. n>œ. bœ. ‰ ‰ >œ. #œ ‰ œ œ & 43
> œ >
.
œ. J œ. n œ. > J >. # œ n>œ. . .
.
sempre dim.
>. >œ. >œ.

? ‰ ‰ b>œ. œ
>. ‰ ‰ bœJ bœ œ >œ.
>. 3
{ J b œ b>œ. . . J ‰ J œ. b>œ. >œ. nœJ ‰ b œj bœ. œ. œ j ‰ j nœ. œ. œ 4
.
109
. >. >. #>œ. n œ.
>
:“;
q. = q
arco
° 3 ∑ ∑ ∑ ∑
&4 œ™ j
bœ œ
mf cantabile
arco. sul pont. ord.

3 3 3 3 3 3
3 ∑ ∑
&4 ææææææææ æ æ æ æ æ æ æ
œ bœ œ œ œ œ œ œ œ bœ œ œ œ œ nœ bœæ œæ œæ b œ œ™ j
œ
p mf cantabile
arco
B 43 ∑ ∑ ∑ ∑ œ™ j
bœ œ
mf cantabile
?3 œ
¢ 4 n œj ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj ‰ œ
j ‰
œ
j ‰
œ
j ‰ Œ œ
mf
p
-
##˙˙˙
# “” 6
q. = q œbœ
3
&4 ∑ ∑ Œ & n ˙˙˙ #œ#œ nœbœ nœ#œ œ œbœnœnœ#œ œnœbœ œ œ œ œ œ œ œ œ œ
Ó - ‰ œnœ 3 3 3
p mf p
? 43 ˙ ™ bœ œ œ œ œ
{ ˙™ ˙™ ˙™ & œ bœ œ œ
˙™ ˙™ ˙™ ˙™ 3 3 3
114 :“;
149
° j
& b˙ bœ ™ j bœ
bœ bœ bœ œ™
œ
j
& b˙ bœ ™ j bœ
bœ bœ bœ œ œ™
B bœ b˙ bœ ™ j œ™ j
bœ bœ œ bœ
bœ bœ
? Œ bœ bœ Œ bœ Œ nœ
¢ bœ nœ
:“;
bœ bœ œ œ œ œ œ bœ œ œ bœ bœ œ bœ œ œ œ œ œ œ œ nœ bœ œ œ œ œ œ œ œ œ œ œ nœ
& bœ œ
3 3 3 3 3 3 3 3 3
3 3 3 3 >-
bœ bœ bœ œ œ œ bœ bœ bœ ?nœ
{ & bœ œ bœ bœ œ œ œ œ œ bœ nœ nœ œJ œ nœ
3 3 3 3
119 sfp
œ
œ œ bœ™ œ
nœ œ bœ œ bœ
°
& œ œ œ nœ J
3
f
sul pont. 3 3 3
œ œ bœ æ æ œæ œæ bæœ œæ œæ
& œ œ œ
æ æ
œ æ
æ æœ bœ œ œ æœ œ
æ æœ
æ
œ œ
æ bæœ
æ
œ
3 3 3 3
arco
3
j œ œ œ
B ˙ &œ nœ œ bœ ™ œ nœ bœ œ
f
? Œ œ ‰ œ œ bœ œ œ ‰ j
¢ œ J œ œ bœ
f
:“;
œ œœœœ œœœœ œ bœ œ œ œ œ œ œ œœœ œœ œœ œ œ
& œœœ œ œ œ œ œ bœ œ bœ œ œ œ œ œ œ œ
3 3 3 3 3
6 6 6 6
mf
3
œ -œ 3
? œœ 3
œ œ bœ ?œ œ bœ
{
122
&œ œ œ œ œ
œ
3
sfp
œ
>-
œ
œ
3
œ &
3
œ bœ œ bœ œ
150
sul pont.
° ˙ œ
& æ
œ
æ œ œ. . œ. . œ. .
æ bæœ æ æœ æ æœ œ.æ #œæ œ.æ nœæ œ.æ #œæ œ.æ nœæ œ.æ œæ œ.æ œæ
æ . . . . . .
3 p
(sul pont.)
3
œ œ æ œæ œæ œ œ bœ.æ œæ œ.æ œæ œ.æ œæ #œæ œæ nœæ œæ #œæ œæ nœæ œæ œæ œæ œæ œæ
&æ æ bæœ œ æ æ æœ . . . . . . . . . . . . . . .
3 3
p
˙ Œ ∑ Œ Oœ bbOœ ∑
&
p
arco
? œ œ œ bœ bœ œ œ œ œ œ œ
œ Œ Œ
¢ œ
p mp (under piano)
:“; ˙
bœ œ œ œ™
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ
œ™
œ
& bœ œ œ bœ œ œ œJ
6 6 6
p
mp nostlagic (bring out)
3 j
œ œ bœ œ œ œ œœ œ ˙ œ™
{ & œ œ nœ œ bœ œœ œœ #˙ œœ nœ ™ œœ
3 3
125
. œ. .
° œæ æ œæ æ œæ æ . œ. œ. . bœ. . œ. œ. bæœ bœ. æ æœ
& . #œ. . œ. . œ. #œ.æ #œæ œ.æ #œæ #æœ. #æœ. #œ.æ #œæ œ.æ nœæ æœ. æœ æ næœ. æ æœ æ æœ æ æ æ
. . . .
mf
.
& #œ.æ #œæ œ.æ œæ œ.æ œæ æ æ œ.æ œæ œæ bœ.æ æœ. æœ. œ. #œ. . #œ. #œ
#œ.æ #œæ œ.æ œæ œ.æ œæ #œ.æ nœæ œ.æ œæ nœ. bœ. . . æ næœ. æ #æœ æ æ
. . . . . . mf . .
#Oœ Oœ
& Œ ∑ ∑ ∑ ∑
œ œ #œ ™ bœ œ bœ œ œ™ bœ bœ œ™ bœ
? #œ Œ J Œ J J
¢
mf
:“;
#˙ œ nœ œ bœ nœ œ bœ b˙
#œ #˙ œ nœ ˙ œ œ bœ b˙
& #œ œ bœ nœ ˙ œ œ œ bœ bœ
mf
#˙ #œ ?bbœ
{ & #œœ ˙ bbbœœœ #œ ##œœ #œœ b˙˙ nœœœ bœ ‰ bœ œ
bbœœ
œ
bœ œ
J b œœ
129
bœ
151
Allargando q=110
° b˙™ ˙o ™ ˙o ™ ˙o ™ ˙o ™
& ∑
f
∑ #˙ ™ #˙ ™ n˙ ™ #˙ ™ ˙™
&
f
& ∑ #˙ ™ #˙ ™ #˙ ™ ˙o ™ ˙o ™
f
? n˙˙ ™™ œœ ˙˙ ˙˙ œœ ˙˙ ™™ ˙˙ ™™ ˙˙ ™™
¢
f
Allargando q=110
# # ˙˙ ™™™ n # ˙˙ ™™™ nb ˙˙˙ ™™™ n# ˙˙˙˙ ™™™ ˙˙˙ ™™™
###˙˙˙ ™™ n##˙˙˙ ™™ bn˙˙˙ ™™™ n#˙˙ ™™™ ˙˙˙ ™™
& ∑ # ˙™ # ˙™ ™
f
˙™ ˙ ™™ œ ™™ œ™ ˙ ™™ ˙ ™™ bb œœ
? #˙ ™ ˙ œ #œ ™ ˙ ˙ bbœœœ
{
134
n ˙˙ ™™ ˙˙ ™™ œœ ™™ œœ ™™ ˙˙ ™™ ˙˙ ™™ bœ ˙
b˙
molto rall.
b˙™ ˙™ ˙™ ˙™ ˙™
° ∑ 4
& 4
#˙ ™ #˙ ™ n˙ ™ #˙ ™ ˙™
∑ 4
& 4
#˙ ™ #˙ ™ #˙ ™ ˙™ ˙™
∑ 4
& 4
? œ ˙ ˙ œ ˙ ™™ ˙ ™™ ˙ ™™ 4
¢ ∑ œ ˙ ˙ œ ˙ ˙ ˙ 4
molto rall.
# # ˙˙ ™™™ n # ˙˙ ™™™ nb ˙˙˙ ™™™ n# ˙˙˙˙ ™™™ ˙˙˙ ™™™
###˙˙˙ ™™ n##˙˙˙ ™™ bn˙˙˙ ™™™ n#˙˙ ™™™ ˙˙˙ ™™ 4
& ∑ # ˙™ # ˙™ ™ 4
˙™ ˙ ™™ œ ™™ œ™ ˙ ™™ ˙ ™™ bb œœ ™™™
? #˙ ™ ˙ œ #œ ™ ˙ ˙ bbœœœ ™™ 4
{
140
n ˙˙ ™™ ˙˙ ™™ œœ ™™ œœ ™™
152
˙˙ ™™
1
˙˙ ™™ b œ™ œ ™™
bb œœ ™
4
Tempo primo q=124
>œ. œ œ.
#œ
œ œ b œ. œ œ. œ œ. -œ œ- œ œ œ œ œ œ # œ
° 4 œ. ‰ Ó Œ
œ
J ‰ Œ ‰œ œ œ
&4 J J
f 3 mf 3 3 3 3
3 3
4 #œ >. . nœ. ‰ #œ œ œ. ‰ Œ 3 3 3
&4 J ‰ œ œ#œ œ œ. j ‰ Œ Œ bœ
b3œ
œ œ
J . #œ J
œ
#œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. .
f 3
mf
.
3 3 3 3 3 3 3 3 3 3 3
3 3
4
& 4 œj ‰ Œ œ œ#œ œ. j ‰ #œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. bœ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ
f
>. œ. œ. œ œ. œ. œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
>œ >œ. œ œ. œ. pizz.
œ œ œ œ arco
#œ J - - . . . .
? 44 J ‰ ?Œ Œ ‰ œ Œ œ ‰ œœ œœ œœ œ. œ œ. œ œ. œ
¢ 3
J
f 3 3 3 3
Tempo primo q=124

>œ. “”j >˙
œ # œ œ. œ#œ œ b œ ™™ œ nœ. bb-œœœ - .
nœœ œ œ. œ nœ œ œ.
4
&4 œ œ. œ œ Ó Œ ‰ œœ ˙ bœ J ‰b œ n œœ #œnœ œ n œ œ œ
3 3
f 3 3 3
f
n# œœœ œ. œ œ œ. œ œ 3
? 44 J J ‰ Œ j > j b-œ - .
nœœœ œ œ. œ œ œ œ.
{ ‰ Œ Ó Œ &‰ œ ˙ œ#œ œ bœ ™ œ nœ. ‰b œœ
3 3 3
147
œ. . . œ
° J 3 3 3
œ
3
œ œ œ. œ. œ # œ. œ. œ œ # œ nœ œ #œ #œ n œ
& ‰ ‰ œœœ œ œœœ œ œ œ œ œ œ œ œ œ œ nœ
f œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ . . 3 3
3
> > f
3 3
3 3 3 3 3 3
bœ œ
& >. bœ œ œ œ œ œ œ œ œ œ œ nœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ. #œ. œ œ #œ #œ nœ
fp
. . . . . >. . . >. . . >. . . . . . . . . .
f
3 3 3 3 3 3
. . > 3 3 3 3
& œœ œ. œ. œ œ œ. bœ. œ. œ. bœ nœ œ œ œ œ œ œ œ œ œ œ œ æ æ æ æ æ æ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œæ# œæ œæ œ œ œ œæ œæ œæ œ œ œ
>. 3 3 >. . . >. . . . . . . . . . . . mfp
fp
œ. b œ œ. œ. # œ.
? ‰ œ. J ‰ Œ
-
‰ œœ œ-œ œœ ‰ œ-œ œ-œ œœ #œœ. ‰ ‰ œ œ œ.
3
¢ J J J œ œ œ. #œ.
3 3
3 3 3 3
# œ.
p mp mf
:“;
œ œ bœ œ œ bœ™ nœ nœ ™ œ #œ œ œ œ œ
œ # œ œ loco j3
nœ œ
œ bœ œ œ bœ ™ nœ ™ J ‰ #œ œ œ
& J œ #œJ œ œJ
3 3 p 3 3
3
œ 3
œ #œ œ. œ ?œ #œ œ œ œ. . œ ?
{ & œ œ bœ œ œ bœ ™ nœ nnœœ ™™ j
œ #œ œ œ œ œ . œ.
œ
J
œ
J
œ
3 3 3 3
151
153
. > . œ. > b œ. . . . .
° #œ #˙ #œ œ œ bœ œ b œ œ œ b œ œ nœ œ œ bœ b œ nœ. œ n œ b œ b œ n œ œ n œ
& nœ
3 3 3 3 3 3 3 3
cresc.
#˙ #œ . > . œ. > b œ. .
œ œ bœ 3 3
œ œ bœ b œ nœ. œ n œ b œ b œ 3
& #œ œ bœ œ œ bœ œ nœ nœ nœ. bœ. nœ.

3 3 3 3
3 cresc.
3 3 3
3
& œæ æ œæ œæ æ œæ œæ æ œæ œæ æ œæ
3 3 3
æ æ
3
æ b œ bœ œ ‰ æ bœæ nœ œ œ bœJ ‰ nœ nœ.
.
‰ bœ bœ. Bnœ bœ. nœ.
#œ œ œ œ œ. # œ œ æ æ æ œ æ æ æ > œ. .
3 3 3
f cresc.
>. . . >. . . #>œ. œ. œ. œ. œ. œ. b œ. œ. œ. œ. œ. œ. #œ.

? Œ #>œ. œ. œ. œ œ œ # œ œ œ B ?‰
3 3
J ‰ Œ bœ. bœ nœ bœ nœ
¢ 3 3 3 3 3 3 3
. . . .
p f
3 n œœ . > . > b œ. . .
j3 œ œ ##œœ œ
#œ œ
œ bœj bœ œœ œ bœ œ
nœ J œ bœ. b œ nœ. œ n œ œ. b œ bœ b œ. n œ. œ n œ
& #œœ #œ œJ J J œ J J bœ nœ nœb œ
3 3 3 3 3 3 3
3 3 3
f cresc.
? œ #œ œ
œ
œ œ
œ
œ œ. . œ
œ œ
bœ bœœ œ œ œ œ j 3 3
œ
3 . bœ. nœ.
?œ
{
154
3
J
3
J
3
J
3 3
J
3
3
b œ
&b œ œ œ
. œ
œ bœ. . nœ. > . œ Œ
b œ nœ
.
f cresc.
3
. > . b œ. n>œ œ. . . . œ. # œ. >œ.

œ œ # œ. œ œ nœ #œ œ > . 3
° ‰ œ. b œ œ nœ. #>œ æœ æœ næœ bæœ næœ nœ. œ. œ. œ œ. nœ. œ. œ. œ œ #œ
& . .
3 3 3 3 3 3 3 3 3 3 3
> . >
œ. #œ. œ œ. b œ œ œ. nœ. #œ. œ. œ. . . b >œ œ. nœ. #>œ œ œ n œ œ 3 3 3 3
& œ ‰ #œ œ æ æ æ æ nœ nœ. œ. œ. œ. œ. œ. #œ œ œ œ œ œ
3 3 3 3 3 3
æ . . . . . .
3 3
œ > .
œ. . . . œ. . . b>œ œ. nœ. #>œ œ bœ æ 3
nœ. œ. œ. œ. œ. #œ. œ. œ. œ. œ. #œ.
B J ‰ œ œ .
bœ nœ. nœ #œ œ ‰ #œ œ æ æ nœ œæ æ
œ nœ.
3 3 3 3 3 3
3 3 3 3
? j . . . b>œ œ. nœ. #>œ œ œ bœ œ #œ nœ #œ nœ ™ #œ

¢ œ ‰ Œ ‰ nœ nœ. #œ. œ. œ ‰ #œ œ. æ æ æ œ
æ nœ œ
3 3
æ > 3
3 3 3 3
> >
œ. # œ. œ œ. b œ. > . n œ. # œ. œ. œ. # œ. œ. b œ œ. n œ. #>œ. œ. .
œ œ nœ #œ œ œ n œ #œ œ #œ œ # œ œ >˙ #œ n œ # œ œ™ #œ
& ‰ ‰
3 3 3 3 3 3 3 6 3
>
œ œ. # œ. œ œ. bœ. > . œ. # œ. œ. œ. 3 3 3 6
> 3
? nœ œ #œ ?
{ & ‰ #œ œ bœ œ nœ #œ œ nœ. œ œ #œ œ #œ œ ˙
. . . . #œ nœ #œ œ ™
3 3 3 3 . > > .
157
154
bœ nœ nœ
° œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. #œ. œ™ #œ œ bœ bœ œbœ J ‰ nœ. œ. œ. œ. nœœ. œœ. œœ. œœ. œœ.
& J
3 3 3 3 3 3
3 3
f
3 3 3 3 >œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. bœ. œ. œ. œ. œ. œ. œ. œ. œ œ3 œ
& #œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. #œ œ œ œ œ œ œ œ œ œ œ œ bœ. œ. œ.
3 3 3 3 3 3 3
f mp f
3 3 3 3 3 3 3 3
. . . . . . . . .
B bnœœ œœ œœ œœ œœ œœ œœ bœœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ. œ. œ. œ œ œ œ œ œ
. . . . . . . . . bœ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. 3 3
3 f
> mp 3
f
nœ#œ œ nœ œ # œ
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Affect and Feelings - The Persuasive Power of Film Music

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Affect and Feelings: The Persuasive Power of Film Music

Quintet for Piano and String Quartet

A dissertation submitted in partial satisfaction of

the requirements for the degree

Doctor of Philosophy in Music

Fernando Arroyo García Lascurain

Fernando Arroyo García Lascurain

Affect and Feelings: The Persuasive Power of Film Music

Quintet for Piano and String Quartet

Fernando Arroyo García Lascurain

Doctor of Philosophy in Music

University of California, Los Angeles, 2017

Professor David Samuel Lefkowitz, Chair

In musical composition composers rely on the audience’s inherent understanding of

Gregorian chant, highly complex dissonant music, to electronic or pop music.

narrative of the film.

of musical tropes is explored.

mentioned in Volume I to create an implied narrative. However the programmatic narrative of

meaning of the narrative.

David Samuel Lefkowitz, Committee Chair

University of California, Los Angeles

move and inspire me every day.

Abstract of the Dissertation…………………………………………………………………....ii

Chapter I: Music, Affect & Narrative………………………………………………………....2

Music & Affect……………………………………………………………………….….3

Music & Narrative……………………………...………………………………………..9

Chapter II: Tropes & Programmatic Music.………………………………………………..17

Instrumental music in the Baroque & Classical eras………………..………….21

The Tone Poem………………………………...…………..…………………...24

Franz Liszt – Prometheus, Symphonic Poem No.9, S.99…………...………………….27

Richard Strauss – Also Sprach Zarathustra, Op.30…………………………………….38

Chapter IV: Film Music Tropes……………………………………………………………...52

The “Birth” of Film Music……………………………………………………………..52

Modern Film Music & Film Music Tropes…………………………………………….54

The different kinds of Film Music Tropes……...…………………...………....56

Cataloguing Film Music Tropes..……………...……………………………….64

Chapter V: Silverado, a Film Music Affective Analysis…………………………………….67

Analysis: “Main Title”…..……………………………………………………………...71

Figure 1, Jean-Philippe Rameau, Overture from Zais (score excerpt)………………………......21

Figure 2.1, Franz Liszt, Prometheus (motive 1, score excerpt)………………………………....28

Figure 2.2, Prometheus (motive 2, score excerpt)…………….………………………………...29

Figure 2.3, Prometheus (motive 3, score excerpt).……………………………………………...29

Figure 2.4, Prometheus (motive 4, score excerpt)…………….………………………………...30

Figure 2.5, Prometheus (motive 5, score excerpt)…………….………………………………...31

Figure 3.1, Richard Strauss, Also Sprach Zarathustra (motive 1)……………………………...39

Figure 3.2, Zarathustra (motive 2)…………….………………………………………………..40

Figure 3.3, Zarathustra (motive 3).……………………………………………………………..40

Figure 3.4, Zarathustra (motive 4)…………….……………………………………………..…40

Figure 3.5, Zarathustra (motive 5)…………….……………………………………………..…41

Figure 3.6, Zarathustra (motive 6)…………….……………………………………………..…41

Figure 3.7, Zarathustra (motive 7)…………….……………………………………………..…41

Figure 3.8, Zarathustra (motive 8)…………….……………………………………………..…42

Figure 3.9, Zarathustra (motive 9)…………….……………………………………………..…42

Figure 3.10, Zarathustra (motive 10)…………….…………………………………………..…43

a) Antonin Dvorak, Symphony No.9 - Movement IV (score reduction)………………..57

Figure 4.2, Alan Silvestri, The Abyss (harmonic reduction)………………………..…….……59