1, 2nd movement, bars 1-8, Quartet version "Beethoven shows his profoundest insight in not allowing the four stringed instruments to reproduce the thick pianoforte chords, though this would be possible with quite easy double stops ." [4] References and sources [ edit] References [ edit] ^ Behrend, p. 46 ^ Rosen, p. 144 difference is on trepetation of A. Ludwig Van BEETHOVEN SONATA No. 5 1 1 5 sf 197 1 5 1 5 5 1 . The journal publishes research with important and broad applications in the analysis of music and the history of music theory as well as theoretical or metatheoretical work that engages and stimulates ongoing discourse in the field. The end of the first subject and the commencement of the connecting episode overlap. Second refrain in dominant contrasting sentence. ***. 1 Analysis, Beethoven Sonata in C Minor Op. Op. 1, is an early-period work by Ludwig van Beethoven, dedicated to Baroness Josefa von Braun. The opening movement is the one that presents a range of technical and musical challenges. Bar 5 is repeated an eighth lower (Bar 6), Bar 7 an eighth higher, and Bars 9-10 an eighth lower (Bars 11-12). The question raised in the articles title only prompts further questions that seek to clarify what can be understood by difficulty. Beethoven's late piano sonatas. 2 1.Allegro (Sonata) Exposition mm. This sonata has three movements. 14, No. The first movement opens with a series of ascending fourths in the right hand, followed by a quartet-like echoing of a phrase in different octaves. Ludwig van Beethoven Sonata No. stream The second theme, in B major, is based on a descending run followed by an ascending chromatic run. % Bars 103-116:First Subject in original key. Ludwig van Beethoven, 1770 - 1827, lived at a time when new and powerful forces were abroad in human society, forces which affected him and made themselves felt in his work. This episode is formed upon a pedal point on G (the dominant). The purely technical can in a sense is measured by the demands that Beethoven makes on the pianist however tasking any pianist with the problem of realizing Beethovens musical intentions can prove more difficult. 14, No. Bars 22-57:Second Subject in B major. On its final return, the main theme is syncopated against triplets. The Journal of Music Theory fosters conceptual and technical innovations in abstract, systematic musical thought and cultivates the historical study of musical concepts and compositional techniques. 14, no. on November 9, 2009, The metadata below describe the original scanning. Capture a web page as it appears now for use as a trusted citation in the future. The musician who wants to deepen his understanding of Beethoven's Piano Sonata, op. and interdisciplinary publications, both books and journals. 106 (Bb), followed by Op. La Sonate no 14 en do dise mineur, opus 27 no 2 de Ludwig van Beethoven, surnomme Sonate au Clair de lune , pour piano seul, en 3 mouvements, fut compose en 1801 1 et publie en 1802 1 avec une ddicace la comtesse Giulietta Guicciardi 1, son lve de piano de dix-sept ans dont le musicien semble avoir t amoureux. The Piano Sonata No. Bars 10-15:Connecting Episode. Here's a short list of the recordings in this comparison, in alphabetic order: Bars 100-104:Second Subject in A major. Bars 17-26:Episode. Beethoven composed the Piano Sonatas 19 and 20 (Op.49; Nos 1 & 2 in G minor and G Major), between 1795-6 with intention of them being played by friends or keen amateur musicians and students. Beethoven: Sonata, op.7 Analysis 4. For terms and use, please refer to our Terms and Conditions 111, Beethoven, L. vanPiano Trio no. 14 "Moonlight"Sandro Bisotti, Beethoven, L. vanPiano Sonata No. Piano sonatas of that time tended to be gracious and elegant in style, and Beethoven's own early sonatas usually conform to that expectation. Beethoven abandons the expected sonata scheme by opening with a slow movement, by returning to themes at surprising times, and by blurring divisions between movements. 14 at least by 1798. According to Donald Francis Tovey, the instrumentation of this sonata for string quartet is one of the most interesting documents in the history of Beethovens art There is hardly a bar of the quartet-version that does not shed some light on the nature of the pianoforte, of quartet-writing and of the general structure of music he takes one of his smallest sonatas and shows [] that hardly a bar of pianoforte music can be turned into good quartet-writing without quantities of new material besides drastic transformation of the old.[3] Tovey singles out the opening of the Allegretto second movement as an example not only of what Beethoven adds, but also of what he leaves out in re-imagining the piano sound for strings: Beethoven shows his profoundest insight in not allowing the four stringed instruments to reproduce the thick pianoforte chords, though this would be possible with quite easy double stops.[4], Journal of the American Musicological Society, Notes on the cycle of the sonatas performed by, International Music Score Library Project, Piano Sonata No.9, Op.14 No.1 (download free sheet music), https://en.wikipedia.org/w/index.php?title=Piano_Sonata_No._9_(Beethoven)&oldid=1107768094, Beethoven, Op. [2] However, in contrast, pianist Andrs Schiff disagrees with the notion that "the Opus 14 sonatas are lighter or easier" and in his lecture on Opus 14 No. The Coda consists of a figure, Bars 52-53, taken from the first subject (Bars 12-13), which is repeated five times on a tonic pedal. Beethoven: Piano Sonata No.14 in C# Minor Moonlight Analysis, Strauss: Horn Concerto No.1 in Eb Major Op.11 Accompaniment, Haydn: Trumpet Concerto in Eb Major, Hob.VIIe:1 Accompaniment, Haydn: Cello Concerto No.2 in D major Accompaniment, Haydn: Cello Concerto No.1 in C major Accompaniment, Mozart: Clarinet Concerto in A major K.622 Accompaniment, Mozart: Flute Concerto No.2 in D major K.314 Accompaniment, Chopin: Ballade No.1 in G minor Op.23 Analysis, Chopin: Ballade No.2 in F major Op.38 Analysis, Chopin: Ballade No.3 in Ab Major Op.47 Analysis, Chopin: Scherzo No.3 in C# Minor Op.39 Analysis, Chopin: Scherzo No.2 in Bb minor Op.31 Analysis, Chopin: Scherzo No.1 in B Minor Op.20 Analysis, Strauss: Horn Concerto No.1 in Eb Major Op.11 Accompaniment, Haydn: Trumpet Concerto in Eb Major, Hob.VIIe:1 Accompaniment, Haydn: Cello Concerto No.2 in D major Accompaniment, Haydn: Cello Concerto No.1 in C major Accompaniment, Mozart: Clarinet Concerto in A major K.622 Accompaniment. Bars 114-149: Second Subject in E major (tonic). Sonatas, piano Publisher Borough Green, Kent : Novello Collection cornell; americana Digitizing sponsor MSN Contributor Cornell University Library Contributor usage rights See terms All Rights Reserved. Instead of being in tonic key the second subject re-appears in A major. Beethoven Sonata in G Major Op. Bars 49-85:Third Subject in G major and E minor. Follow the "All Files: HTTP" link in the "View the book" box to the left to find XML files that contain more metadata about the original images and the derived formats (OCR results, PDF etc.). Moving through the Sonatas, Nos. It modulates to F sharp major (dominant of second subject) in which key it ends, Bar 22. Bars 104-114:Connecting Episode. 19 (the B-flat Concerto) sketches clearly indicates that considerable progress had been made on Op. For advanced students and professional pianists In the Process of Becoming - Janet Schmalfeldt 2017-02-03 With their insistence that form is a dialectical process in the music of Beethoven, Theodor There is sometimes mention that the last movement is the only one that displays any genuine challenge but this is a dangerous stance to adopt in the face of so many blas performances that substitute speed for poise, clarity, and understanding of the composers intentions. CopyrightTonic Chord. CopyrightTonic Chord. It begins in C sharp minor (tonic), and ends in G sharp minor. It feels as if Beethoven is pushing the instrument and the performer to the very limits of what is physically and emotionally possible. 2 No. Be the first one to, Advanced embedding details, examples, and help, Beethoven, Ludwig van, 1770-1827. The sonata has many traits of Haydn that bring humor and eloquence to the composition. Title: Microsoft Word - Analysis - Beethoven Sonata Op 2 No 1 - I.doc Author: Mark and Jill Feezell Created Date: 10/11/2007 6:14:09 PM 14 and Op. A new figure is then introduced, Bar 46, which is considered by some as the commencement of the Coda, The second subject closes, Bar 57, in the dominant key. 1 4 Tempo I 2 p 3 5 1 2 1 2 1 193 4 195 cresc. "TURKISH MUSIC" AND THE MILITARY STYLE. No.25 is nicknamed The Cuckoo and is only a little longer in duration that nos. This Sonata has been given the title of Hammerklavier and almost without exception is felt to be the most difficult piano sonata Beethoven composed. 3: I Mozart, Fantasy, K 397 Bach, Prelude, BWV 846 Beethoven, Sonata, op. It only contains one slight reference to the first subject, and twelve bars upon a dominant pedal point closing in tonic key. Bars 63-64:Bars 63-64 simply modulate into C sharp minor for the repeat, and into C sharp major for the development. 2 Analysis, Beethoven Sonata in G Major Op. Bars 114-149:Second Subject in E major (tonic). For the benefit of all pianists learning this work, we present to you a concise and easy to use analysis of Beethovens Piano Sonata No.9 in E major. 10, No. 14, no. At the time, many considered it to be unplayable but Franz Liszt was one of the first pianists to play it publicly. The second movement of this sonata is a theme with variations. Analysis of form in Beethoven's sonatas by Harding, Henry Alfred, 1855- Publication date 1901 Topics Beethoven, Ludwig van, 1770-1827, Beethoven, Ludwig van, 1770-1827. Anton Schindler recalled that Beethoven would play the E-minor section furiously, before pausing at length on the E-major chord and giving a calmer account of the Maggiore.[1]. These can be broken down into 1 or more \"tunes\". The Sonatas that follow numbers 19 & 20 are No. Advanced Form and Analysis Spring 1998 An Analysis of Beethoven s Sonata for Cello and Piano in A major Op. His experimentation in modifications to the common sonata form of Haydn and Mozart became more daring, as did the depth of expression. Bars 23-31:Second Subject in B major. The third movement is in a lively sonata rondo form. + c.i.] The basic sequence is Intro, Exposition, Development, Recapitulation and Coda.-EXPOSITION: Main theme(s) are presented, usually in the home key and then a modulated key-THEME / THEME GROUP: musical \"paragraph\". 1, is an early-period work by Ludwig van Beethoven, dedicated to Baroness Josefa von Braun, one of his patrons at that time. The second subject (instead of being in the relative major) is in G sharp minor; it is divided into two parts, both beginning and ending in G sharp minor: first part, Bars 21-43; second part, Bars 43-63. This item is part of a JSTOR Collection. Home | Terms and Conditions | Site Map | Contact Us | Privacy Policy. Bars 42-46:First Subject in original keys. You're joining thousands of learners currently enrolled in the course. (Ex.ABACABA. 8 measure starts with G major. For the benefit of all pianists learning this work, we present to you a concise and easy to use analysis of Beethoven's Piano Sonata No.14 in C# Minor, "Moonlight" First Movement (Adagio Sostenuto) Form: Sonata Form. Bars 51-60:Second Subject begin in C sharp (tonic) major, ends in C sharp minor. Here, the balance between the hands is vital as well as maintaining the delicate phrasing of the melody without allowing it to be overpowered by the triplet accompanying figure. of a 3-pt. 14, No. 14, No. 10, No. x}[{ 1 in D major by Beethoven This sonata for violin and piano was written along with a series of sonatas written by Beethoven within a five year period between 1798 and 1803. Bit of knowledge Ludwig Van BEETHOVEN SONATA No. Nevertheless, this sonata is not straight forward to play fluently and with the necessary nuance. CMUSE is your music news and entertainment website. 2 Analysis. Bars 1-5:Bars 1-5 form an introduction to the first subject. 1: I Schubert, Sonata, D 157: II Joplin, The Easy Winners Clementi, Sonata, op. Bars 15-23:Second Subject begins in B major, ends in F sharp minor. At bars 168-177 there is a recurrence of part of the second subject, and after some arpeggios (note the chord of the Neapolitan sixth, Bars 180-181) the movement ends with a reference to the end of the subject, upon tonic pedal point (Bar 191). XVI:52: I Beethoven, Sonata, op. Bars 40-49:Episode. At the far end of the list is the Piano Sonata No.29; Op. Bars 9-15 form a passage which fulfills the duty of a connecting episode, although in some respects it may be considered as a continuation of the first subject. In other words, it sounds like you're sitting in front of the piano, with low notes on the right and higher notes going towards the right. 2 Analysis Beethoven Sonata in G Major Op. While remaining true to its original structuralist outlook, the journal also addresses the influences of philosophy, mathematics, computer science, cognitive sciences, and anthropology on music theory. 27, No. All Rights Reserved. difficult pieces ever written for the piano. Initially intended dedicatee was Elector Maximilian Franzof Bonn who died 26 July 1801, before the symphony was published. The movement to the second section majorly depends on the rapid modulation, normally done in a series with the aim of making the tonic return more dramatic and strong as possible by bringing in tonic contrast and instability of modulation that is done rapidly. The sonata has many traits of Haydn that bring humor and eloquence to the composition. Mozart: Sonata, K.310 Analysis 6. If a page that has no link to return to . This is not enough to produce a credible and convincing performance, as I would suggest a thorough knowledge of Beethoven is crucial to playing these later Sonatas well and with the eloquence they deserve. It was composed in 1798 and arranged for string quartet by the composer in 1801 (Hess 34), the result containing more quartet-like passagework and in the more comfortable key of F major. Founded in 1893, University of California Press, Journals and Digital Publishing Division, disseminates scholarship of enduring value. It begins in E major and ends in C sharp minor. 2 No. The figure upon which the episodes are formed re-appears at the end of the movement, Bars 127-128. Interestingly, many pianists place the Pathtique Sonata, (No.8; Op.13), at this point in the list. 1 (see below), he states that they are frightfully difficult to play and to interpret. 21 (1800) The Basics General Information Composition dates: 1799-1800; sketches as early as 1796. Masterclass Notes and Accompaniment Tracks, Tonic Chord > Analysis > Beethoven Piano Sonatas > Beethoven: Piano Sonata No.9 in E major Analysis. melody in bass part and in minor. It represents a form of modulation that allows for the transition from the tonic to a key that is related. 1 1.Allegro molto e con brio (Sonata) Exposition mm. Uploaded by Three 4 bar phrase starting on dominant of e. 4. This sounds as if these two-movement sonatas can be easily dismissed but this is not the case. Both subjects being and end in different keys. hank_b The second movement ends at Bar 34, followed by four bars (Bars 34-38) modulating back to the key of tonic (E minor). 49 Nos. The first subject begins with a sentence of four bars upon tonic pedal point. I hope that this analysis will come in handy with your project about Beethoven's Piano sonata Op. Reading time: Approx. Request Permissions. (Disclaimer: I do not have a music degree, all of the above is purely from memory and observation)Movement I. Allegro (Sonata form)Exposition -1st Theme (I) (GREEN) -Transition (BROWN) -2nd Theme (V) / Codetta (BLUE)Exposition Repeat -1st Theme (I) (LT GREEN) -Transition (LT BROWN) -2nd Theme (V) / Codetta (LT BLUE)Development -Variations on 1st Theme (VIOLET)Recapitulation -1st Theme (I) GREEN) -Transition (BROWN) -2nd Theme (I) (BLUE)Coda (DARK BLUE)Movement II. It is entirely in the key of the dominant. There is no possible way to hear and learn this movement other than through the comprehension of its expression of pain. CMUSE is a participant of the Amazon Services LLC Associates Program, an affiliate advertising program it is designed to provide an aid for the websites in earning an advertisement fee by means of advertising and linking to Amazon.com products. Allegretto (starting from 6:01)- 3. Bars 35-38:Connecting Passage. But I'll tell you that the most difficult is Op. The second subject, Bars 23-27, is repeated (slightly varied), Bars 27-31. Bars 15-21:Connecting Episode. Request Permissions, Journal of the American Musicological Society, Published By: University of California Press. In all of the thirty-two Beethoven sonatas, there is a technical difficulty but there are also the more elusive interpretative challenges. Home | Terms and Conditions | Site Map | Contact Us | Privacy Policy. What is the directory structure for the texts? Bars 46-51:Connecting episode. )-FUGUE: form in which a subject(s) undergoes canonical permutations-VARIATION: repeat of a theme with variation-CADENZA: unaccompanied instrumental solo-BINARY FORM: Structure in AB. Beethoven, Op. The next sonata equal in terms of popularity has been placed towards the middle of the difficulty list. These are grouped according to key and end on cadences. See the, Notes on the cycle of the sonatas performed by, International Music Score Library Project, No. Furthermore, the contrasting dynamics and variation between major and minor, between using the parallel minor and the subdominant of its relative major (E minor to C major). 3: I Haydn, Sonata, Hob. I 407 completion of Op. Even though they may be light sonatas in that they have a brief duration, they are works of substance and merit on many levels. Each of these fine works has a breath-taking selection of technical and interpretative challenges to offer any pianist. {\ a;? The second movement is minuet-like; the main section ends on the tonic major chord. This is an immense sonata lasting as long as fifty minutes. Sonatas, piano. Episode 1. Bars 1-16:First Subject in E major (tonic). 1 An Stravinsky - Mezmurlar senfonisi Ve Neoklasisizm. beethoven sonata op 14 no 1 analysis Posted on: 3 February 2021 Posted by: test 14, No. Bars 93-100:Episode. 49, Wikipedia article "Piano_Sonata_No._9_(Beethoven)", For a public domain recording of this sonata visit. BEETHOVEN S SONATA OP. There is no regular return of the first subject. and ends with a weak cadence. ***. 10 No. idea of A. Harmonic progression and register Bars 62-92:The development begins with a reminiscence of the first subject, but after a few bars an important episode is introduced, Bars 66-82, in the key of C major. Bars 92-104:First Subject (varied) in original key. I'm calling this \"Beethoven 360\". It seems to look forward to the works of Chopin and Liszt but is cloaked in the sorrow that haunted Beethoven all his life. It already has the voice of Beethoven sounding though the music and is a test for any accomplished pianist. 1970 American Musicological Society Search the history of over 797 billion The pianist and musicologist Charles Rosen considers both of the Opus 14 sonatas to be "considerably more modest than their predecessors", "destined for use in the home" and with "few technical difficulties". 18 quartets, and the juxtaposition of the Op. Beethoven's autograph-like those of the other early sonatas-has disappeared, but by way of compensation there is his unique recomposition of the sonata as a string quartet. 8 "Pathtique"Tom Pascale, Beethoven, L. vanMass in C majorVienna Symphonic Orchestra, Our dream: to make the world's treasury of classical music accessible for everyone. As if to demonstrate the full polarity of his expressive powers, Beethoven follows the brisk, energetic and bright musical finesse of the first movement with a profound contrast: darkness, tragedy and the disruption of time through silence and terror. 5 in c minor, opus 10 no. 2 Part two. 9 in E Major, Op. Movement 2: Andante. 1-8 1st Theme in Tonic with contrasting period. The second sonata in Beethoven's 14th opus starts with a glimpse of one of the future styles of the composer. 1"). Journal of the American Musicological Society on the Internet. Re: L. V. Beethoven's '32 Piano Sonatas' Ranked In Order Of Difficulty. The 2nd Theme Group is in the dominant or other key.-CLOSING/CADENCE SECTION: a theme group which closes the Expo or Recap (it follows the 2nd theme) and revives Theme 1 to provide closure.-MODULATING BRIDGE/TRANSITION: material to get from 1 key/theme group to another, often w sequencing.-DEVELOPMENT: free-form \"working out\"/\"fantasia\" section where earlier themes are subjected to variations and atomizations. in the broad and interdisciplinary area of "theory and history of cultural production," 2 No. Not withstanding its seeming simplicity, this sonata introduces the "Sturm und Drang" character that became so commonly identified with Beethoven. The repetition takes the place of the usual double bar and repeat. EXPOSITION: Bars 1-5: Bars 1-5 form an introduction to the first subject. The connecting episode is of the same length as the original one, the first four bars of which, in the key of C, are varied and the keys altered so as to end in dominant key; it modulates to the dominant, Bar 107, by means of the chord of the augmented sixth. 27 No. 2. 1 "Sonata quasi una fantasia" already suggests an unusual form and intensity of expression. 7, 6, 15, 3, 12, and 18 all come before the famous Moonlight Sonata; Op.27; No.2. It is unusual for both the First and Second Parts to be in the same key. Arnold Schoenberg Beethoven Sonata in G Major Op. The connecting episode commences with the first two bars of the first subject. university presses. Even though Beethoven uses sonata form for the first movement the development section takes the structure into remarkable and unpredictable territory. Beethoven Symphony Basics at ESM Symphony No. At Bar 72 a portion of the second subject occurs in F sharp minor the melody of which is transposed to the bass, Bar 76. A principal theme (A) alternates with contrasting themes (BCD). 2, 1st movement Exploring Beethoven's Piano Sonatas Part 6 Curtis Institute of Music Enroll for Free This Course Video Transcript Welcome to Exploring Beethoven's Piano Sonatas Part 6! Repeatation' s first four measure starts as the To begin the analysis process it is useful to make a FOREGROUND REDUCTION of the soprano and bass lines (represented by solid noteheads) by eliminating all items which do not contribute to the larger structure: repetitions rhythmic values non-chord tones dynamics and articulations 1, Analysis, Beethoven Sonata in G Major Op. 1, 2nd movement, bars 18, Quartet version, This page was last edited on 31 August 2022, at 19:54. Until now, practically all the fast movements in the sonatas have been build on the principle of contrast: it starts with a quite defined character and after a while follows another character, more or less contrasting. Bars 1-13:First Subject in E major (tonic). 19 & 20. This is the Moonlight Sonata (No. magnitude of the journals program within the Press is unique among American 14, No. 2 No. Possibly a new theme is introduced (\"Eroica\").-RECAPITULATION: Repeat of the Expo, except that this section remains in the same key throughout and there can be theme variations from the initial Expo versions of themes.-CODA: Follows the Recap, kind of a second development designed to finish off the work.-SEQUENCING: repeating a phrase on different starting notes (keys)-TERNARY FORM: 3-part form in A-B-A, usually a Scherzo or Minuet-SCHERZO/MINUET: 1st pt. 101 (A). F++u86Fd;b}99==%YdD+U]] Links to Analysis Resources at NAU All material at this site is copyright 2004, Kenneth R. Rumery, all rights reserved. One of the largest, most distinguished, and innovative of the university presses today, its collection of print and online journals spans topics in the humanities and social sciences, with concentrations in sociology, musicology, history, religion, cultural and area studies, ornithology, law, and literature. Bars 9-17:Repeated (varied). Each sonata has merits of its own and is abundant with challenges and delights in equal measure, but which is considered to be the easiest and which the most difficult? 14 No. The four movements of the sonata each are worlds in their own right. Bars 1-9:First Subject in A flat and D flat major (tonic). See also Scherzo, Op. 10, no. 1 Op. [4] As we progress towards the more difficult of the thirty-two sonatas, we encounter No.26 (Les Adieux); Each of these monumental works demands virtuosic technical facilities at many points during the works. The Coda is based upon the passage in Bars 57-61. 33, no. 25 in G (Op.79); These are for many pianists, but not without exception, in steadily progressive order of difficulty. Mozart: Sonata, K.281 Analysis 5. 5 in C minor Op. Bars 117-158:Second Subject in C sharp minor (tonic). The journal's breadth of musical intellectual scope, its rigorous referee process, and its diffusion to more than 5,000 subscribers worldwide have helped make it the premier journal in the field. does also publish two journals of advanced mathematics and a few publications 14, 'Moonlight' Adagio sostenuto Op. The 32 sonatas of Beethoven, including the well-known Pathtique Sonata and the Moonlight Sonata, are often considered the pinnacle of piano sonata composition. There appears to be broad agreement amongst pianists that the easiest sonatas are what attract the sub-title Leichte Sonata or literally light sonata. It modulates at Bar 61 from the dominant key back to the tonic. 2 2 1 3 5 Si deve suonare tutto questo pezzo delicatissimamente e senza sordini . It requires some substantial physical stamina as well as considerable concentration to deliver a performance of this work. Each issue includes articles, book reviews, and communications. 49, No. Bars 26-End of Part I:First Subject (varied and extended) in original keys. Bars 18-End of Part II:Reminiscence of First Subject in original key. 2-Part Song form. I took that file and \"spread\" the notes so that listening to this on headphones will give a very distinct spacial distinction between the low voices and the high voices. << /Length 4 0 R /Filter /FlateDecode >> Op. 14 No. In Beethovens relatively short life he devoted significant time to composing for the instrument that he made his own: the piano. Bars 23-42:The development is very short. /?wrmsh|]wu[}{U=_?Zo1un7?V/?Tu_U_|e?hbq/:>hdNM9jGt'NEM?i/&zwUtFzH?iOWAk WQw'4|9 O_ v;{n/QQ;A,O!` MIRk=ZCNN'u,%:YFR5Uy8$Gjt1bS3j"xT~U7KYn25+f?ItJezy{pl?%G7t|;GX%oZ4mQ0 \uH j]k?Ok'It?|[L>;cM_My,*$qzN)d0Vt}+7[|z{USu%6I7jj}hJ}&r QlQ{x@"Xt The connecting episode differs from that already referred to. 1, has available to him a good deal of material to supplement the printed score.