JR0028
Jake Runestad
Nada Te Turbe SSAATTBB choir, unaccompanied
Music JakeRunestad.com
Text
Duration: ca. 5:20
Nada Te Turbe by Santa Teresa de Ávila
English Translation
Nada te turbe; nada te espante; todo se pasa; Dios no se muda, la pacïencia todo lo alcanza. Quien a Dios tiene, nada le falta. Solo Dios basta.
Let nothing disturb you; let nothing frighten you; everything passes; God never changes, patience obtains all things. Whoever has God, lacks nothing.
About the Work Teresa de Ávila, a Carmelite nun and Christian mystic, lived in 16th century Spain and is well known for her writings on mental prayer. This contemplative, spiritual experience occurs in four stages and thus my musical setting holds four as an important and influential number. I wondered what Teresa’s beautiful words would have sounded like set to music during her lifetime and in turn, what that music would sound like expressed in a contemporary musical language such as my own. As a response, I have used canonic and imitative counterpoint to harken the style of 16th century composers such as Tómas Luis de Victoria and reverberant textures to mimic the environment of a large, stone cathedral. Performance Information • “Oo” should be pronounced as in English, like the Spanish vowel “U” with the lips forming a small O and the mouth and throat open to provide a rich resonating chamber. • Sustained tones should grow gradually as indicated by the dynamic markings. Breathing should be staggered throughout these sustained tones to sound seamless and constant. • The Spanish text should be pronounced with an accurate yet neutral accent (Ss should not sound like “th,” Ds should be soft, and Zs unvoiced). • Specific dynamic markings should be approximated to fit the ensemble’s size and acoustics of the performance space. • The balance between the drones and the moving lines should be fairly equal throughout so that the moving lines seem to emerge from and disappear back into the drones. Solo voices should use a pure, focused tone. Commissioning Consortium Seraphic Fire (Miami, FL). Patrick Dupré Quigley, conductor. Baltimore Choral Arts Society (Baltimore, MD). Tom Hall, conductor. Plymouth Congregational Church (Minneapolis, MN). Philip Brunelle, conductor. About the Composer Award-winning composer Jake Runestad (b. 1986) is noted for his versatility and wide range of expressive capabilities with music driven by soaring melodies, driving rhythms, and lush textures. Mr. Runestad holds a Master’s degree in composition from the Peabody Conservatory of the Johns Hopkins University where he studied with Pulitzer Prize-winning composer Kevin Puts. He has also studied extensively with acclaimed composer Libby Larsen. Mr. Runestad’s music is published by Boosey & Hawkes and JR Music.
Perusal Score
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Email: jake@jakerunestad.com
This score is not licensed for performance. Unauthorized reproduction is prohibited by law. Š 2013 Jake Runestad. All rights reserved.
Choral Works by Jake Runestad
Alleluia All the World’s A Stage And So I Go On Come to the Woods Dereva Ni Mungu Dreams of the Fallen Fear Not, Dear Friend Gaelic Prayer Good Night, My Love The Hope of Loving I Will Lift Mine Eyes Let My Love Be Heard Live the Questions Nada Te Turbe None Other Lamb Nyon Nyon Peace Flows Into Me The Peace of Wild Things Sing, Wearing the Sky Sleep, Little Baby, Sleep Spirited Light Under This Tree Waves We Can Mend the Sky Why the Caged Bird Sings
SATB with divisi, unaccompanied SATB with divisi, unaccompanied SSAATTBB, unaccompanied SATB with divisi & piano SATB, percussion, & piano TB, percussion, & piano Piano, chorus, & orchestra SATB with divisi, unaccompanied SATB div., unaccompanied SATB & piano SATB div., soloists, & string quartet SATB with divisi, unaccompanied SATB with divisi, unaccompanied SATB div., unaccompanied SSAATTBB, unaccompanied SATB & piano SATB with divisi, unaccompanied SATB & piano SATB with divisi & piano SSAA, violin, piano, & percussion SATB, unaccompanied SATB with divisi, unaccompanied SATB div., unaccompanied SATB div. & piano SATB with divisi & percussion SATB with divisi, unaccompanied
3:00 5:00 6:00 11:00 3:00 3:00 25:00 6:00 4:00 4:00 17:00 4:30 4:00 4:00 6:00 4:00 3:30 4:00 6:00 5:00 4:30 4:30 4:30 7:30 8:00 8:30
For perusal scores, recordings, and to purchase scores, please visit:
JakeRunestad.com
Commissioned by a consortium of choirs led by Seraphic Fire. Patrick Dupré Quigley, conductor.
Nada Te Turbe
Santa Teresa de Ávila (1515-1582)
Soprano
Alto
° #### # 4 ¢& # 4
Slowly, freely q = 60
∑
° #### # 4 ¢& # 4 Œ
poco rit.
p
œ œ ˙
œ
˙
˙
œ œ œ
œ œ œ
° #### # 4 Œ œ ˙ ¢& # 4 ‹ Oo.
Piano
{
œ
, 2 4
U w
, 2 4
œ œ ˙
œ
p
œ œ œ
Oo.
U w
w
2 4
mf
œ œ œ
œ
œ œ œ
Oo.
Slowly, freely q = 60
∑ Œ œ œ œ ? #### # 4 Œ ˙ ™ #4
œ
œ˙ œ œ ˙œ œ œ œœ œœ ˙œ
œ
Oo.
œ
œ œ ˙
œ œ œœ ˙ ™ œ œ ˙
œœ
œœ œ œ œ œ œœ
w œ
p
U ˙
˙
poco rit.
˙ œ œ œ
œœ œ œ œ œ
œ
œ œ œ
Pe ru sa l
(for reh.)
# # #4 & # ## 4
œ œ œ
U w
p
mf
œ œ ˙
p
Sc or e
Bass
˙™ p
˙™
œ œ œ
œ
Oo.
p
°? # ## # 4 Œ ¢ # #4
œ mf
p
Oo.
Tenor
mf
Oo.
œ œ œ
Jake Runestad (b. 1986)
œ
U ww
2 4 U ˙
w ˙
œ œ ˙
2 4
2 4
a tempo, freely (q = ca. 60)
° #### # 2 ¢& # 4 ˙ 6
S.
pp no vib.
° #### # 2 pp ¢& # 4 ˙
Oo. no vib.
A.
° #### # 2 ¢& # 4 ˙ ‹ °? # ## # 2 ¢ # #4˙
Oo.
T.
B.
Pno.
{
4 4w o 4 4 o 4Ó 4
# # #2 & # ## 4 ˙˙
w
w
3 4 ˙™
4 4
w
w
3 4 ˙™
4 4
∑
∑
mp freely, purely
œ œ œ 3
*Na - da
te
œ œ ˙ tur
-
Œ
be;
3 4
∑ 3 œ œ œ œ œ
na - da
œ
te es - pan - te;
a tempo, freely (q = ca. 60)
? #### # 2 #4
6
4 4w
4 4w w
∑
*Optional solo
4Ó 4
œ œ œ 3
w w œ œ ˙
3 4 ˙˙ ™™
w w Œ
3 œ œ œ œ œ
Copyright © 2012 Jake Runestad (ASCAP). Ver. 10.4.13 All rights reserved. International copyright secured.
: 3 4˙
œ
3 4˙
∑
;
4 4 Œ
4 4 4 4
Œ
4 4
2
° #### # 4 ¢& # 4 w 11
S.
A.
T.
B.
Pno.
° #### # 4 ¢& # 4 w ° #### # 4 ¢& # 4 ‹
{
œ 3
to - do
## # & # ## 44 w w ? #### # 44 œ #
œ
œ
œ
œ
se
pa
-
sa;
œ
œ 3
S.
A.
œ
œ
œ
T.
B.
P
° #### # 4 Œ ¢& # 4 ‹
Œ
{
## # & # ## 44 w w
Pno.
Solo
œ
te
Na - da
tur
œ
-
te
15
: 34 ˙
œ œ 3
;
Œ
Œ
w
e r o c S l
44 œ
44 œ
-
œ
be;
œ
œ
w wœ œ ˙ œ
3
œ
œ
no
se
œ
mu
œ
œ
œ
œ
-
œ
3
œ
œ ‰ J
œ œ
œ ‰ J
œ œ œ
œ œ
da,
œ
: 34 ˙
;
Œ
43 ˙˙ ™™ ˙ 43
Œ
44 44 44 44 44
â ä
div.
â ä
div.
w j œ ‰ 3
na - da
w w œ
œ
∑
w
w
œ œ ˙ œ
43
∑
w
w
44
43 ˙ ™
44 w w
˙ 43
tur
43 ˙™
44
Dios
be;
œ œ œ œ œ ? #### # 44 œ # 3
∑
mp freely, expressive
œ œ
3
3 °? # # # 4 œ œ œ œ œ œ # ¢ # #4
Na - da
44 w
a s u
r e
° #### # 4 ¢& # 4 w
43 ˙ ™
43 ˙˙ ™™
11
15 ° #### # 4 ¢& # 4 w
44 w
43
∑
°? # ## # 4 œ ¢ # #4
43 ˙™
œ œ
na - da
œ
te es - pan -
te;
œ œ
œ œ œ
œ œ œ
˙
œ
te es - pan - te;
œ œ œ
œJ ‰ 3
3
3
œ
œ
œ
w œ œ w œ
˙
œ
œ
œ
œ ‰ J
œ œ
œ ‰ J
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° #### # & # w 19
S. 1
w
(Oo)
S. 2
A. 1
¢&
#### # #
w
w
(Oo)
T.
B.
j œ ‰ œ œ
3
œ œ ˙
to -do
P
°? # ## # œ œ3 œ œ ¢ # # to -do
se
se
pa - sa,
œ œ œ œ
œ
Dios no se mu - da.
w
œ
mf
3
w
3
la
pa -
w
˙™
Tutti mp
3 j ‰ œ œ œ œ œ
œ
Œ œ œ œ Ó œ
gradually open to "Ah"
Dios no se
â ä
div.
w
mu - da.
Tutti mp
œ
3 œ œ œ œj ‰ œ œ œ œ
pa - sa,
Dios no
w w
œ
â ä
div.
w
w
se mu - da.
(Bass 2 breathe here to prepare next note.)
Ó ˙œ œ œ œœ œ œ œ œ œ œ œ œJ œ‰ 3
3
w w
3
3 3 j œ œj ‰ œ œ œ œ ? #### # œœ œ œ œ‰ œœ œ œ œ œœ œœ œœ œœ œ œ œ œ œ # w J ‰
19
mu - da,
w
mp freely
Ó
˙
w
(Oo)
° #### # ¢& # œ ‹
{
e r o c S l w
a s u r e
w
## # & # ## w w
Pno.
œ œ œ œ ˙
Dios no se
w
w
(Oo)
A. 2
w
j œ ‰
3
Ó
gradually open to "Ah"
° #### # & # w
#### # # & ¢
3
mp freely
3
3
˙™
w w
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4
° #### # & # Óœ 24
S. 1
mf
œ
la
S. 2
3
œ œ™ œ œ œ
3
œ œ œ
pa-cien-ci - a
to - do lo
#### # mf # w & ¢
3 ° #### # & # œ™ œ œ ˙™
T. 2
mf
Ӝ
?# # # ¢ # ## w
mf
B. 2
{
œ
œ
Ó
mf
la
œ œ nœ
˙
Œ
˙™
w
Œ
œ
œ œ œœ 3
œ
˙
3
to - do lo al - can -
w
œ œ ™ 3œ œ œ
œ
3
3
˙
za.
w
˙™
œ3 ˙ œ œ œœ 3
Œ
pa-cien - ci - a
to - do lo al - can - za.
w
w
w
Ah.
? #### # Ów # w
24
œ™ œ œ ˙™
w
e P Œ
3
pa - cien-ci - a
3 3 #### # œ # œ™ œ œ ˙™ œ™ œœ œ & œ œ
Pno.
3
w
œ
Œ
w
œ œ œ œœ
a s u r
3
la
Ah.
B. 1
œ
Quien a Dios
3
w
° #### # Ó & # ‹
°? # ## # # # œ
˙
to - do lo al - can - za.
#### # mf ¢& # w
#### # mf ¢& # w ‹
˙
e r o c S l
Ó
˙
Ah.
T. 1
3
w
cien - ci - a
A. 2
œ
al - can - za.
w
Ah.
A. 1
Œ
œ
œ
3
œ˙
3
œ
3
œ
Œ
œ
3
œ œ œ Ó
œœ ™ œ œœ ˙ ™ œ œ ™ œ œ œ 3
3
3
œ
3
œ ˙ ˙ œ œ œ œœ 3
œ˙ ™
3
œ w
˙ 3
Œ
œ œœ
Œ
œ
Œ
3
œ œ nœ
3
œ ˙ ˙ œ œ ˙ œ œ œ 3
3
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5
° #### # 3 & # œ ˙ 28
S. 1
˙
tie - ne,
S. 2
œ
#### # # w & ¢
3
œ œ œ
na - da
le
w
3 ° #### # & # œ nœ œ œ ˙
Œ
Quien a Dios tie - ne,
A. 2
#### # # & ¢
T. 1
° #### # œ & # ‹
T. 2
B. 1
B. 2
#### # # nw & ¢ ‹ °? # ## # ˙™ # # ¢
? #### # # nw
{
œ œ nœ
Quien a Dios
œ ? #### # ˙™ #
28
3
œ ˙
˙
tie - ne,
e P Œ
3
œ nœ
3
œ œ ˙ œ œ
Œ
œ
le
œ œ3 ˙
3
œ nœ
3
œ œ œŒ
œœ n˙œ œ ˙œ ˙ 3
3
3
So - lo Dios
Œ
œ
Ah.
w
Œ
3
œ œ œ
na - da
le
3
œ ˙
Œ
œ
fal - ta.
w
˙™
Œ
3 œ œ3 ˙ œ œ
na - da
w
Œ
œ œ
fal - ta.
Quien a Dios tie - ne,
w
œ
3
Œ
˙
w
œ˙ ™
3
3
Ah.
e r o c S l 3
œ
w
Œ
w
œ
a s u r
3
#### # 3 & # œœ n˙œ œ ˙œ ˙
Pno.
fal - ta.
w
w
Œ
œ
na - da
w
Œ
3
œ ˙
w
˙™
3
A. 1
Œ
le
fal - ta.
w
Œ œœ ˙œ œ œ ˙
œ˙
œ˙™ Œ
œœ ˙œ œ œ ˙ Œ
3
3
3
œ œ œ Œ 3
Œ
œ œ œœ Œ 3
3
3
3
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° #### # & # w 36
S. 1
S. 2
w
A. 2
° #### # & # ¢
## # & # ##
˙
w
Dios no
T. 2
#### # œ # & ¢ ‹
B. 1
B. 2
se mu - da,
œ œ nœ
Dios no
P
? # # # ˙™ ¢ # ##
{
3
Œ
°? # ## # # # nw
? #### # œ˙™ #
36
œ œ
œ
se
Œ
w
Œ
3
œ ˙
mu - da,
˙
œ nœ
3
œ˙ ™ Œ
Œ
œ
Œ
œ
3
œ
œ œ
œ œ3 ˙
se mu - da,
3
œ œ œ Œ
œœ n˙œ œ ˙œ ˙ 3
3
Œ
3
46
w
46
œ œ
˙™
œ
œ
3
poco rit.
Ó w
46
Œ
46
œ œ œ œ
46
so - lo Dios bas - ta.
œœ œ œ ˙™œ œ œ œ
46
w
˙™
˙™
da.
Œ
so - lo Dios bas - ta.
w
Dios no
3
Na -
œ œ œ œ
œ
da.
6 œ œ œ œ 4
˙™
3
œ
Na -
Ó
˙™
so - lo Dios bas - ta.
œ nœ
Œ
œ œ
w
w
3
3
6 œ œ œ œ 4
Œ
œ
so - lo Dios bas - ta.
w
#### # 3 & # œœ n˙œ œ ˙œ ˙
Pno.
3
˙™
3
œ œ ˙ œ nœ
° #### # & # nw ‹
Œ
œ
w
3
T. 1
w
e r o c S l a s u r e
#### # 3 # œ ˙ & ¢
mu - da,
A. 1
7
poco rit.
6 œ œ œ œœ 4
3
œ˙™
Œ
œ
œ œ Œ
3
œœ œ œ ˙ ™œ œ œ œ 3
46
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8
a tempo (q = ca. 60)
° #### # 6 w™ & #4
w
#### # 6 mf & # 4 w™
w™
40
S. 1
S. 2
A. 1
¢
mf
Ah.
° #### # 6 Œ & #4
f
œ
Na
A. 2
¢
## # & # ## 46
-
œ
da
œ
œ
3 ° #### # 6 & #4œ œ ‹ Na - da
f
T. 2
B. 1
°? # ## # 6 fœ # #4
? # # #6 w ™ ¢ # ## 4 mf
{
na
te
Œ
-
da
œ
be;
œœœ 3 3
˙
œ
e r o c S l -
œ œ œ œ œ œ œj ‰
œ
da
te
es - pan
-
te;
œ œ œ œ œ œ
œ
œ
te
tur
float
œ
3
œ œ œ
na - da
f
na
P -
j œ ‰
œ œ ˙ tur
Œ
w™
-
-
te
es - pan
-
te;
œ
be;
na
˙
œ
œ
œ œ œ
be
na
da
te
da
te
tur
-
-
œ -
da
j œ ‰
˙
œ
œ œ œ
te
es - pan
es - pan
œ œ -
te;
˙ -
te;
w™
a tempo (q = ca. 60)
? #### # 46 œœ #
40
be;
a s u r e
œ
œ
## # & # ## 46 Œ œ
Pno.
tur -
w
#### # 6 3 ˙ #4œ & ¢ ‹ Na - da,
Na
B. 2
te
œ
f
Ah.
T. 1
œ œ œ
œ
œ
œœ œ œ˙ Œ œ
œ œ œœ ‰ J
œœ œ œ˙ œ œ œ
‰ œœ œ œ œ œ œœ œ œ˙ œ œ œ œœj J 3
œœ
œœ
œœ œ œœ œ œ ˙
œ œ
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° #### # & # œ 42
S. 1
f
to
S. 2
A. 1
° #### # & # œ
A. 2
#### # # ™ & ¢ w
T. 1
° #### # Œ & # ‹
B. 1
#### # # œ & ¢ ‹
¢
- do
œ œ
˙
se
pa
sa;
-
j œ ‰
œ
3
œ
œ
œ
no
se
mu
{
? #### # œœ #
42
-
da,
w™
œ
-
do
œ
œ œ
œ
se
pa
sa
to
‰
-
-
˙
Ah.
œ
-
do
œ
œ
œ
œ
œ
do
œ
œ
œ
œ
se
pa
-
œ
œ
sa;
˙™
œ
œ
se
mu
-
da,
œ
œ
œ
œ
œ
œ
Dios
a s u r
œ
œ
3
œœ
j œ ‰
œ ˙
e r o c S l Dios
no
œ œ œœ œœ
œ
œ
œ
w™
œ
3
Dios
no
se
mu
œ
-
da,
œ
œ
w™
œ
œ
œ
˙
œ
3
œ
œ
œ
se
pa
-
sa;
Dios
no
se
mu
? #### # w ™ #
## # & # ##
Pno.
œ
œ
e P
°? # ## # œ # #
to
B. 2
3
#### # # w™ & ¢
to
T. 2
9
œ -
œ
œ
œ
j œœ ‰ œ
da,
∑
œœ œœ
˙œ
œ œ
œ œ
œ œ œ
œ
œ œ ˙
j œœ ‰œ œ
œ
3
œœ
œ ˙œ
3
œ œ
œ œ
œœ œ œ œ œœ
œœ œœ 3
œ
œ œ
œ
œ œ
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10
° #### # & # œ 44
S. 1
S. 2
A. 1
A. 2
¢
ff
œ
œ
Na - da
te
3
T. 2
° #### # œ & # ‹ Na
ff
œ
be;
Na
œ
-
˙
da,
‰
°? # ## # # # œ ?# # # ¢ # ## Ó
{
? #### # œœ #
44
œ3
œ
na - da
œ œ œ te
3
˙
es - pan -
j œ ‰
œ
te;
e r o c S l
œ
na -
œ
œ
da,
œ
na
-
œ
œ
œ
da
te
es -
œ
pan
œ
-
˙
te;
w™
Ah.
-
œ
œ
da,
na
#### # ff ¢& # w™ ‹
## # & # ## œœ
Pno.
œ J
#### # ff ¢& # w ™
Na
B. 2
tur -
˙
w™
° #### # & # œ
ff
B. 1
œ
#### # ff & # w™
ff
T. 1
œ
-
da,
œœœ
3
œ œ
-
da,
r e
P œ
˙
œ
œ
a s u œ J
‰
œ
œ
3
na - da
œ œ œ
te
˙
3
es - pan -
œ
œ
œ
œ
te;
w™
œ
na
œ
-
œ
-
œ
œ
-
œ -
œ
œ
œ
œ
da
te
es -
pan
œ -
ff
œ œ
˙œ œ
to
-
w™
Ah.
˙
te,
gradually close to "Oo."
w
œ œ ˙
œ
œ
œ œ
œ
œœj ‰ œ
œ
œj ‰ œ œ
œœ
œ
œ œ
œ œ œ œ œœ
3
3
œ œ œ œœ œ ˙ œ
3
3
œ
˙
œ
œ
œ˙
œ
œ œ
j œ ‰ œ
œœ
œ
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11
° #### # œ œ3 œ œ & # 46
S. 1
to - do
S. 2
se
˙
pa -
œ ‰ J
sa,
#### # gradually close to "Oo." ¢& # w™
3
œ œ œ œ
Dios no se mu -
œ œ œ œ œ œ œ
to - do se pa -
A. 2
T. 1
T. 2
B. 1
B. 2
¢
sa,
w™
œ
° #### # œ œ3 œ œ & # ‹ to - do se pa
-
-
?# # # ¢ # ## w™
{
a s u r
sa,
e P œ œ ˙
do se pa
3
3
œ œ œ ? #### # œ œ œœ ˙ #
46
Dios no se mu -
œ œ œ œ œ
#### # gradually close to "Oo." ¢& # w™ ‹
-
3
œ œ œ œ w™
œ
œ
Dios
no
œ œ œ œ œ da,
œ
w
44
œ œ œ se
œ
sa,
œ œ 3œ œ œ œ
Dios no se mu -
o
˙
œ ‰ œ
3
Œ
œœ œœ œ œ œœ 3
mu -
44
w™
44
œ
da,
œ
œ œ œ œ œ ˙™
44
w™
44
(Oo.)
˙
œ œ
œ
œ
da,
Ó™
œ˙™ œ œ œ œ
œ œ œ œ œ œ œœ œ œ œ œœ œ œ˙ œ œ 3
w™
(Oo.)
w™
## #œ œ & # ## œ œ œœ œœ œ ˙œ œ œ
Pno.
œ
gradually close to "Oo."
°? # ## # œ # #
da,
(Oo.)
° #### # & # œ ## # & # ##
44
w™
e r o c S l
w™
Ah.
A. 1
˙™
œ
œœ œ
œ œw™
w
44
∑
44
w
œ œ œ œ œ ˙™ œ œ w
œ
44 44
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12
° #### # 4 p & #4w 49
S. 1
Ó
w
p
˙
w
e r o c S l Oo.
S. 2
A. 1
#### # 4 # 4 ˙™ & ¢ ° #### # 4 & #4
Œ
p
Ó
˙
w
Oo.
∑
p
w
w
Oo.
A. 2
T. 1
¢
## # & # ## 44
p
w
° #### # 4 Ó & #4 ‹
B. 1
˙
Oo.
#### # 4 #4w & ¢ ‹
B. 2
Pno.
°? # ## # 4 # #4 ? # # #4 ¢ # ## 4
{
˙
w
w
a s u r e
p
p
T. 2
w
Ó
˙
P ∑ ∑
mp
3
œ ˙
Na - da
w w
? #### # 44 w #
w ˙ œ
œ œ œ œ te
tur
-
mp
Ó
3
œ œ
œ
Na - da
te
3
œ œ œ œ
Na - da
te
tur
œ
-
be.
w
mp
3
œ œ œ œ œ
Na - da
te
tur
-
œ
˙™
be.
∑
dim. poco a poco
w
be;
Πw
3
w
∑ gradually close to "Oo."
w
Œ
3
œœ œ œ œœ œ œ œ
w œ œ œ œ
Œ
œ
∑
## # & # ## 44 w w
49
Œ
mp
3
œ œ œ œ œ 3
œ w
˙™
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poco rit.
° #### # & # w
pp
53
S. 1
S. 2
A. 1
A. 2
T. 1
#### # # & ¢ ° #### # & #
¢
## # & # ##
w
w
tur
˙™
-
be.
pp
w
w
w
w
B. 2
Pno.
Ó
53
U w
w
o
U ∑
o
U ∑
(Oo.)
pp subtely emerging from the texture
œ
œ
Œ
Na - da,
P œ
œ
Na - da
te
3
tur -
na
-
œ
w
gradually close to "Oo."
œ
˙
pp
w
?# # # ¢ # ## w
{
U ∑
gradually close to "Oo."
#### # # w & ¢ ‹
œ
w
pp
w
œ
pp
3
œ
œ
U w
U w
U w
w
ww œ
(Oo.)
(Oo.)
w
˙w w
œ
Πw w
o
U ∑
o
U ∑
(Oo.)
U ww
ww œ
U w
da.
U w
be.
˙™
wœ
-
U w
(Oo.)
poco rit.
? #### # w # œ
o
w
pp
w
° #### # & # w ‹
## # & # ##
U
w
gradually close to "Oo."
°? # ## # œ # #
U ∑
(Oo.)
pp
mp
B. 1
U w
w
gradually close to "Oo."
T. 2
o
e r o c S l a s u r e
gradually close to "Oo."
œ
U w
13
˙
œ
U w w w
U ∑ U w
o o