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m w NUI MAYNOOTH Ollscoi! na h£«reann M& Nuad Charles Villiers Stanford’s Preludes for Piano op.163 and op.179: A Musicological Retrospective Supplementary Volume Adèle Commins Thesis Submitted to the National University of Ireland, Maynooth for the degree of Doctor of Philosophy Department of Music National University of Ireland, Maynooth Maynooth Co. Kildare 2012 Head of Department: Supervisors: Professor Fiona M. Palmer Dr Lorraine Byrne Bodley & Dr Patrick F. Devine

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Page 1: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

m w

N U I M A Y N O O T HO llsco i! na h£«reann M& Nuad

Charles Villiers Stanford’s Preludes for Piano op.163 and op.179:

A Musicological Retrospective

Supplementary Volume

Adèle Commins

Thesis Submitted to the National University o f Ireland, M aynooth for the degree of Doctor o f Philosophy

Departm ent o f M usic National University of Ireland, M aynooth

M aynooth Co. Kildare

2012

Head o f Departm ent: Supervisors:

Professor F iona M. Palm er Dr Lorraine Byrne Bodley & Dr Patrick F. D evine

Page 2: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting
Page 3: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

Twenty-Four Preludes in all the Keys

for Pianoforte op. 163

&

Twenty-Four Preludes in all the Keys

for Pianoforte op. 179

Charles Villiers Stanford

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Table of Contents

Table of Contents

List of Figures................................................................................................................. ii

List of T ab les................................................................................................................. iii

Part 1: Editorial Commentary and List of Emendations....................................1

Editorial Commentary.................................................................................................. 1

I Introduction................................................................................................................................. 1II Stem m a......................................................................................................................................... 1III Published Sources..................................................................................................................... 2IV Key Considerations................................................................................................................... 3V Editorial Process.........................................................................................................................4VI Aim of This E d ition .................................................................................................................. 5VII Variants and List of Em endations.......................................................................................... 5

Part 2: Edition of Twenty-Four Preludes in all the Keys for

Pianoforte op.163 and op .179................................................................... 12

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List of Figures

List of Figures

Fig 1: Stemma o f Stanford’s Preludes..................................................................................................... 1

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List of Tables

List of Tables

Table 1: Key to Sources..............................................................................................................................2Table 2: List o f Variants in Twenty-Four Preludes in all the Keys for Pianoforte op. 163 .5Table 3: List o f Variants in Twenty-Four Preludes in all the Keys for Pianoforte op. 179 .8

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Abbreviations

Abbreviations

Designations for Pitch Register

The following designation is used to determine pitch register:

o

¥ o

C C ccc

Abbreviations

The following are a list of abbreviations used in the Editorial Commentary:

Original Term Abbreviation

Right Hand RHLeft Hand LH

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Editorial Commentary and List of Emendations

Part 1: Editorial Commentary and List of Emendations

Editorial Commentary

I Introduction

Through my engagement with Stanford’s forty-eight preludes, op. 163 and op. 179, it became

apparent that there were a number of mistakes in the original published version of the

collection. I, therefore, undertook to prepare a new clear and consistent working edition of the

preludes along with an editorial commentary which would include a list of variants. The

preparation of a performing or critical edition did not fall within the scope of this dissertation

but will be the next viable step in the future dissemination of the preludes.

II Stemma

W ithout the availability of neither the autograph score nor the engraver’s copy, it is difficult

to determine where the fault for many of the omissions and mistakes lie. The stemma of

Stanford’s preludes, therefore, was as follows:

Fig 1: Stemm a o f Stanford’s Preludes

1

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Editorial Commentary and List of Emendations

Table 1: Key to Sources

Abbreviation Explanation Availability Date o f Publication

A Autograph Score Lost N/A

SW Swan & Co. Publication

Library Sources1 (no longer available for purchase)

1919 (op.163) & 1921 (op. 179)

CH Chiltern Music Publication

From Publisher 1992

III Published Sources

The earliest extant versions of the preludes are the Swan & Co. publications from 1919 and

1921 respectively. Chiltern Music reissued both sets of preludes in 1992 and maintained the

grouping o f preludes in seven series as per the arrangement of the original publication.

However, an examination of this edition reveals that it is indeed a photocopy o f the original

Swan & Co. publication, clearly having used the same plates as for the initial publication.

Despite amending the time signature in Prelude no.8, evidence o f the Chiltern publication

being a direct photocopy of the Swan & Co. publication is most obvious when one examines

the first page o f Prelude no.37. Furthermore, the Chiltern publication amended the copyright

notice which is placed at the bottom of first page of each series. However, on the first page of

the sixth series which commences with Prelude no.37, the imprint of the original copyright

notice from Swan & Co. is still visible where it came through on the photocopy. This is

disappointing to note in this new edition. Other similarities are evident, including the font

used for the date ‘Sept. 1918’ which is included on the final page o f the First Series of op .163.

Many of the reissues o f Stanford’s music by Cathedral M usic are issued directly from the

original publications without any editorial markings. One such example is Stanford’s Six

Bible Songs op. 113. As the 1992 edition of Stanford’s preludes failed to correct the numerous

For the purposes o f compiling this edition, the author consulted the Swan & Co. Publication available in the Robinson Library, Newcastle University.Blotches, faded notes and other miscellaneous detail were compared between the two editions and found to be similar in both. See for example, Prelude op. 163 no.3.

2

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Editorial Commentary and List of Emendations

mistakes present in the original publication, I have prepared an edition of the preludes to

accompany this thesis.

IV Key Considerations

Before compiling my edition of Stanford’s preludes I consulted a number of sources for

guidance on the preparation of this edition.3 In particular, guidelines issued by publishers

regarding the presentation of critical editions proved useful in determining the layout of the

emendations. For example, some editions list the emendations in paragraph format, some

guidelines recommend tabular format.4 W hile some editorial methods remove redundant

accidentals without further comment, I have chosen to include all of my modifications in the

critical commentary to demonstrate the comprehensive study undertaken. As many editors

note that ‘additions by analogy must be made as sparingly as possible’ and carried out with

caution, this has been respected in the preparation of this edition.5 Unifications by analogy

were carefully considered in the context of articulation markings. The possibility that many of

these omissions might have been intentional was also proposed, but each of the changes made

to articulation markings have been justified in the context of similar passages. One such

example was Prelude no.20 where it was considered that some of the articulation

discrepancies were intentional. However, after performance and thorough examination it was

decided to amend the articulation markings from the original publication.

James Grier, The C ritical Editing o f Music: History, Method, and Practice (Cambridge; N ew York, N Y , USA: Cambridge University Press, 1996). Web sources included Paul Wranitzky, ‘Concerto for V ioloncello and Orchestra, op.27: A Critical Edition’,<http://contentdm.lib.bvu.edu/ETD/image/etd3278.pdf> [accessed 28 July 2011], H .W iley Hitchcock, ‘Critical Commentaries for Charles Ives 129 S ongs’,<http://www.charlesives.org/critical commentarv/Ives% 20129% 20Songs.pdf> [accessed 28 July 2011] and The Management o f the N ew Complete Dvorak Edition, ‘Editorial Principles for the N ew Complete Edition o f the Works o f Antonín D vorak’,<http://musicologv.ff.cuni.cz/pdf/gabrielova/Editorial Principles NDE.pdf> [accessed 28 July 2011], One such example is The Management o f the N ew Complete Dvorak Edition, ‘Editorial Principles for the N ew Complete Edition o f the Works o f Antonín D vorak’, <http://musicologv.ff.cuni.cz/pdf/gabrielova/Editorial Principles NDE.pdf> [accessed 28 July 2011], ‘Editorial Principles for the N ew Complete Edition o f the Works o f Antonín D vorak’,

<http://musicologv.ff.cuni.cz/pdf/gabrielova/Editorial Principles NDE.pdf> [accessed 28 July 2011],

3

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Editorial Commentary and List of Emendations

Some editors choose to mark the additions and revisions in the printed musical

score with square brackets [ ] and to use dashed lines to notate editorial slurs.6 However, as

the aim of the edition is to provide a clear reading of the score which will enable performers

to have an accurate performing score, it was felt necessary to omit such markings on the

score; the critical commentary should clarify all the alterations to the score. Consideration

was given to the grouping of the preludes in the original publication and it was decided to

leave the grouping in its original layout.

V Editorial Process

As the manuscript for these works is missing this makes determining the extent of the

mistakes a much more difficult process. Therefore, the 1919 and 1921 publications are the

sole source for preparation of this new edition. My editorial method consists of listing the

variants bar by bar which were encountered during my study o f each of the individual

preludes. M y work consisted of additions, unifications and corrections.7 Some of the mistakes

detected are basic errors while others are based on my interpretation o f the music based on

performance, historic and harmonic judgement. Other considerations involved deciding on the

most effective way of presenting the edited music.

Editorial additions included amending articulations, unifying slurs, adding

occasional rests and making pitch alterations and revising the time value o f particular notes.

There were also alterations to both time signatures and key signatures. Erroneous notes are

corrected and included in the critical commentary but not highlighted on the score.

Consideration was given to supplying numbers for triplets, sextuplets, septuplets etc. with

some irregular subdivision of note values added in for clarity, and for unifying the use of 8va

‘Editorial Principles for the New Complete Edition o f the Works o f Antonín Dvorák’, < http://musicologv.ff.cuni.cz/pdf/eabrielova/Editorial Principles NDE.pdf> [accessed 28 July 2011 ].

7I have taken this terminology from ‘Editorial Principles for the N ew Complete Edition o f the Works o f

Antonín Dvorák’, <http://musicologv.ff.cuni.cz/pdf/gabrielova/Editorial Principles N D E .pdO [accessed 28 July 201 I f

4

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Editorial Commentary and List of Emendations

throughout the sets. It was decided to leave many as they were in the original publication as

the music was already clear in this regard. A decision was also taken that the addition of

cautionary accidentals was not necessary. However, redundancies such as unnecessary

accidentals repeated in the same bar were removed. In some instances the direction of note

stems and beams were reversed for ease of reading; these have not been noted in the

commentary. Throughout the collection of preludes there are a number o f misspelling of notes

in terms o f fitting in with the surrounding harmony.8 These ‘errors’ have not been amended

for this edition.

VI Aim of This Edition

Rectifying the various mistakes will provide a musical text which can be trusted when used

for study and performance. The availability of such an edition will ensure that a more

authentic representation of the composer’s intentions is available which will lead to a wider

knowledge and circulation of the works.

VII Variants and List of Emendations

Table 2: List o f Variants in Twenty-Four Preludes in all the Keys for Pianoforte op.163

Prelude Bar Beat Note Alteration HandNumber Number Number9

1 19 4 1 Crotchet rest amended to g LH22 1 1 Addition of minim rest LH39 2 1 Notes amended to E and EE LH58 3 1 Addition of flat sign to e ” RH70 3 1 Deletion o f tie RH

2 17 2 1 Omission o f slur RH

3 14 3 1 Note amended to FF RH37 1 1 Note value amended to minim RH38 4 1 Addition o f natural signs to a and

o ’

RH

43 1aOmission o f crescx0 -

See for example, Preludes nos 36 & 37.For the purposes o f numbering the notes and rests are all counted while grace notes are also included.

5

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Editorial Commentary and List of Emendations

56 1 1 Note value amended to semibreve R H & L H

5 34 4 Omission of rest for consistency (See bars 31-33)

LH

47 1 1 Rest amended to dotted crotchet LH

6 24 2 Note value amended to minim (to mirror layout in bar 27)

RH

7 6 2 1 Note value amended to dotted quaver

RH

9 1 1 Rest amended to dotted quaver rest

RH

9 3 1 Rest amended to semiquaver LH12 1 1 Rest amended to dotted quaver RH31 2 1 Addition of natural to a LH47 3 1 Rest amended to semiquaver LH

8 - - - Time signature amended to 2 /411 -

18 1 6 Note amended to f RH65 1 Slur carried from previous bar is

missingLH

9 9 4 1 Addition of staccato marking to a RH11 1 2 Addition of natural sign to d ’ RH12 2 1 & 2 Note values amended to quavers RH14 1 3 Addition o f sharp sign to d ” RH16 3 3 Addition of natural sign to e LH

10 40 1 1 Addition of semibreve rest LH

11 79 1 1 Continuation o f slur from bar 78 RH

12 26 4 1 Omission o f natural sign on d' and addition o f natural sign to e ’

LH

34 4 1 Addition of quaver rest RH35 4 1 Addition of quaver rest RH37 3 1 Addition of double dot LH

13 11 2 1 Addition of dot RH18 1 2-4 Note values amended to

demisemiquaversRH

19 1 2^1 Note values amended to demisemiquavers

RH

24

24

1

3

2^1

2-4

Note values amended to demisemiquavers Note values amended to demisemiquavers

RH

28 3 2^1 Note values amended to RH

This was omitted for clarity as the crescendo marking commenced in bar 42. This had been corrected for the Chiltem Publication o f 1992.

6

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Editorial Commentary and List of Emendations

3650

32

11

demisemiquavers Addition of natural sign to c ” Note values amended to demisemiquavers

RHRH

14 1 3 1 Note amended to b LH6 9 1 Addition of natural sign to e, e ’ R H & L H

and ee’7 1 1 Note value amended to RH

semiquaver9 6 1 Addition of natural sign to e, e ’ R H & L H

and ee’10 5 1 Addition of natural sign to b and R H & L H

b ’17 8 1 Addition of natural sign to a’ RH17 9 1 Addition of sharp sign to g ’ RH20 9 1 Omission of slur/tie LH

15 60 2 2 Addition of slur RH62 2 2 Addition of slur RH64 2 2 Extension o f slur RH

16 10 1 1 Stem direction amended (See bar LH21)

12 1 1 Stem direction amended (See bar RH21)

12 1 1 Omission of rest for consistency LH(See bar 10)

14 4 2-5 Addition of slur RH20 4 2 Flat sign added to b ’ ’ RH20 4 1-3 Addition of slur RH21 4 1-6 Note values amended to R H & L H

semiquavers

18 31 1 2 Addition of natural sign to d ’ LH

19 13 3 1-6 Beaming amended RH

20 11 1 1 & 2 Addition of staccato m arking to a’ RHand e ”

16 1 1 & 2 Addition of staccato m arking to g ’ RHand e ”

27 3 1 Omission of staccato marking RH32 1 2 Omission of sharp sign on a and LH

addition of sharp sign to c ’33 1 1 & 2 Addition of staccato m arking to E LH

and e

7 6 1 Addition of natural sign to g ’ RH11 6 2 Addition of flat sign to a ’ RH36 5 1 Addition of quaver rest LH36 6 1 Addition of octave from fifth beat LH

7

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Editorial Commentary and List of Emendations

to sixth beat in keeping with thepattern utilised in other bars

23 17 2 3 Omission of natural sign on a’ RH30 1 1 Addition of natural sign to a RH

24 17 4 7 Omission of sharp sign on g LH19 3 1 Addition of minim rest LH21 1 1 Note value amended to minim RH

Table 3: List o f Variants in Twenty-Four Preludes in all the Keys for Pianoforte op.179

PreludeNumber

BarNumber

Beat NoteNumber

Alteration Hand

25 15 4 2 Notes moved to bass clef for clarity

RH

16 1 1 Notes moved to bass clef for clarity

RH

20 3 1 Notes moved to treble clef for clarity

RH

21 3 1 Notes moved to treble clef for clarity

RH

21 4 1 Addition of flat sign to b ’ RH22 3 1 Notes moved to treble clef for

clarityRH

2324

31

1 Addition of minim rest Addition of quaver rest

RHRH

27 2 & 3 1-1 Beam added to notes RH & LH34 2 2-9 Note values amended to

hemidemisemiquaversRH & LH

34 4 2-9 Note values amended to hemidemisemiquavers

RH & LH

35 2 2-9 Note values amended to hemidemisemiquavers

RH & LH

28 33 Time signature amended to 3/4 -

29 26 6 2 Omission o f natural sign o n e ” ’ RH28 2 2 Sharp sign added to a LH

30 15 2 2 Addition o f flat sign to a LH

31 3 3 1 Note amended to B flat LH31 4 1 Omission o f natural sign on d” RH

32 3 3 3 Note amended to b ’flat LH5 Omission o f treble clef at end of

barLH

25 2 1-9 Correct note subdivisions added RH

8

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Editorial Commentary and List of Emendations

25

26

27

27

28

33

34

39444952

3

1

2

3

2

1

3

2123

2-9

2-6

1-9

2-8

1-7

2 -6

1-6

2333

for clarityNote values amended to hemidemisemiquavers Correct note subdivisions added for clarityCorrect note subdivisions added for clarityCorrect note subdivisions added for clarityCorrect note subdivisions added for clarityCorrect note subdivisions added for clarityCorrect note subdivisions added for clarityAddition of flat sign to f Addition of natural sign to c Addition of natural sign to c ” Addition of flat sign to f

RH

RH

RH

RH

RH

RH

RH

LHLHLHLH

33 1 2 1 Addition of staccato marking RH10 2 1 Addition of natural sign to c ’ RH11 2 1 Addition of natural sign to c ’ RH12 1 1 Addition of natural sign to c ’ RH87 1 2 Addition of quaver rest RH88 1 2 Addition of quaver rest RH

34 5 1 1 Omission o f natural sign RH5 3 1 Omission of natural sign LH6 2 1 Omission o f natural sign LH

35 14 4 1 & 2 Addition o f staccato marking LH

36 l 12 1 1 Rest moved to bass clef for clarity RH

37 66 1 1 Addition of staccato marking LH

38 4 3 2 Addition of natural sign to b RH18 3 2 Addition of natural sign to a LH

39u 5 2 1 Note d’ amended to b LH

40 24 2 1 Note D amended to E LH35 2 5 Addition of ledger line for clarity LH

41 - Inclusion of repeat sign at beginning for clarity

3 4 2 Addition of flat sign to RH

Rests were also moved to bass c le f for clarity in the follow ing bars: 2, 3, 4, 5, 6, 16, 17, 18, 19, 20, 21, 22, 28, 50 & 51.For the return o f music from bar 3 in bar 61, the composer has chosen a different layout. This has been left as per the original publication.

9

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Editorial Commentary and List of Emendations

422224

21

11

Revision of key signature14 Addition of double sharp sign to f Addition o f tie and slur across the barline from previous bar

RHLH

43 - - Time signature amended to 3/2 -

19 3 1 Addition of notes15 RH32 1 1 Addition o f natural sign to f ’ RH

45 32 8 1 Addition of flat sign to b ’ RH

46 25 3 Note amended to d LH26 3 1 Addition of ledger line for clarity LH

47 24

28

1

3

1 Note value amended to dotted crotchetAddition of natural sign to d

RH

LH3039

11

1 Note value amended to quaver Addition of natural sign to d ”

LHLH

54 1 1 Note value amended to minim LH65 1 1 Addition of triplet for clarity RH & LH

48 9 4 2 Addition of quaver rest LH16 2 3 Addition o f flat sign to b for

clarityLH

17 2 3 Addition of flat sign to b for clarity

LH

25 2 2 Addition of flat sign to d LH25 4 1 Addition of flat sign to d ” and

rP ’ ’RH

26 2 3aAddition of flat sign to d ’ LH

26 3 1 Addition of flat sign to d LH34 2 1 Note value amended to dotted

crotchetRH

35 4 1 Addition of flat sign to e ’ RH35 3 1 Addition of ledger line to E for

clarityLH

44 2 1 Addition of sharp sign to e LH

An examination o f the preludes has highlighted that there are inconsistencies in the number of

beats per bar in a number of the pieces. In all but one case (Prelude no.3), these preludes

As all sharp signs have been placed beside those notes which were to be played as sharp notes, the revision o f key signature necessitated the placing o f natural signs beside those notes in the key signature which were to be played as natural. These revisions have not been annotated here.There is a possibility that notes have been omitted here and one suggestion has been included in this edition.

10

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Editorial Commentary and List of Emendations

began with an upbeat.16 However, the number of beats in the final bar did not correspond.

This inconsistency was noted in Preludes nos 7, 10, 24, 31, 33, 40, 44 and 48.

Revised editions of Twenty-Four Preludes in all the Keys for Pianoforte op. 163

and op. 179 now follow.

W hile this prelude does not commence with an upbeat, the final bar does not have the correct number o f beats.

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Edition of Twenty-Four Preludes in all the Keys for Pianoforte op. 163 and op. 179

Part 2: Edition of Twenty-Four Preludes in all the Keys for Pianoforte op.163 and op.179

12

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Page 24: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

66

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Page 25: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

I I

Andante espressivo

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Page 26: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 27: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

48

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Page 28: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting
Page 29: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

I llAllegro appassionato

Page 30: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

16

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Page 31: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

S

fegp R

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Page 32: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 33: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

54

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Page 34: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

IVAllegretto grazioso

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Page 35: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

18

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Page 36: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 37: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 38: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 39: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 40: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 41: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

44

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Page 42: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

Larglietto

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Page 43: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 44: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

45

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Page 45: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

VIIAllegro marziale

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Page 46: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

19

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Page 47: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting
Page 48: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

VIII( S t u d y )

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Page 49: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting
Page 50: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

34

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Page 51: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting
Page 52: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 53: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

IXAndante giusto

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Page 54: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 55: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

37 Allegro

8 # - ^ ---------------------------------------------------- » —

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A ------------------- «r ----------------------------.

r \

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Page 56: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

XTempo di Valse

« i « - f i r —---*--- L-- rv * - 9 mI .(g: 4 ^ p ) ^

* '■9-

- r *

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s f

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Page 57: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

26 ^ |

f l ¿ * i i Ji?-r

>p-‘

M i-------é- r- £ - 1

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£•

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F ± - - ¿ X r i • r - j w r r . J . .. h ^>-

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Page 58: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

: \>r. p y = j i r— 1—*-------------------

9 : } . — >r

-p—te

^ = 4

0

P z

1 s » 1

rail.

= F ^

9 -----------

» 1

pp a tempo ----- ;

V ■/- - í — f= à = * =M = = £ = *

4— L ^ U i#4

Page 59: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

Andante cantabile XI

Page 60: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

27

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m fc •

5- ---------

J ------ P i

t9-'rz-

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Page 61: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

70

l è i Sr ~ r y a tempo

* h.Ì

74

rtS^=-

^ t>4OTe :

Page 62: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

— - I,J~~j. ] : — ^r \g : —

i ) : , 1------------

S ' • '= '

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o’ •T7-

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Page 63: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

Allegromoderatof i T . fe

S. U». ffff

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JL

•H ------ 11 «- • 'U M -; / 0 ,1. ---*

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Page 64: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

18

Í i t HI ^ ; „ n J i 1 i 4 ;( p r ^ i

/ L

^ = ä s /

Y t *! r f

W i ^ = _ _

mf; :*

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24

( 1 *

•M J

s >r—• b » • æ •* h—*>- ~¡ K r f h k r f fm Mf 'f -— ^ —

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M = ^

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(8).

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Page 65: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting
Page 66: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

Andante

Page 67: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

22 .._____/ i J7i k 1 i»- rc - r

ffv w v w v v v v

r :?• » . , _■ *]• * • . m* mL i L i

----------» «

6

K-------------

i - L ¿ L r -5

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— 35 ' — SS3 3

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Page 68: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting
Page 69: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

XIVA llegretto moderato.

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Page 70: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

13

i \ t ñ + ^ 4 -m ir^ra4-•: •■ --• V « • ^ •. « . - •"' 4P • -

) % = H

l í ü - y -

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Page 71: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

XVA llegretto grazioso

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F p 5

s# r

fi—?..

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Page 72: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

---"r-- P—\/ ' ' 7 j n n n r T T H w ì\• P • -=*— <;=

d d i*' . -

7 it, fF ^ * * 4 1

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------J-J-.J --“JH—?—--- 55

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Page 73: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

q :

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Page 74: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting
Page 75: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

XVI

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Page 76: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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p *=í

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t\S » M J

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= ¡ M =

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24

1 N ., kr —f9--------- — ñ ~ T -m-----m

) p ^

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i

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t

lolce

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io

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Page 77: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

— --------------7 - = 1— ----- ■ — . Hj * N i J fb *

í— 1

4 ^ iT ^ -

esc.*» Sr~

i i*j»-: h ------------- 1

3fc*

h *y

V y 10

f

p -=— 2---- «T ? 37

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33

i

j .SE/

» i í - í1 3Ï

f r 'C o /S Ä f fCol 8 iS

3 6

í f á ^k. «., 4 S iá ü » -------J = 4 ^ 0 ? 0 t S 3 = ; 1

_____

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a

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r h'N

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Page 78: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

XVIIA llegro m aestoso

/

— • -«<■ — ■ — ■ -&-

>

= h 4 ^ _J 4— > •

^ f ! fcresc.

3> L f - 3

>

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a a ~ j * 4 ... : « — { f g 1 ^ 1 —

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f=^ f 4 = *b*-i ------- 4

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1 fl_ .4

cJ _ «f f

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1— FFÌV - ^ W — ------------ =— ^ r~ b*. >*

Page 79: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

Mm * m: fj « . m + m vih>T#-*> ¡»—m.-- V n

* - d1 <*ffb u

mt

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34

f i f e * ¡y

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M

f = 1 =

>

f a h H

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m

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J.— — h l -

M -

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M

V-*- » 1 / '-m

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t e M l # 1 1

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/frP bl>, b ç— mN— k, f a --------------r \

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s fm

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Page 80: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

XVIII

r-r j r #

— F Ê F F 4P 3p►t H*-----------►-P-Ap-----------

P ¥ 1

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P

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t i V t . . r f*--------

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m

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r ^ ¥ c . -h ■ •' " a -------------------------- T----------------[ «-* C ~ 2 — — kf) ^ 3 L

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Page 81: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

26

----T— m Uif— \ 9~mi*---- ^ í ^ - * -J l

* f = ^ f----------4 f--------

f ' M

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esc.

~

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= * ß

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í f Á h K f f f F F i f -, ' • * » » m \ ~r~ r t .i*~ i* f f r . r r f r p nj -CO tt ff ------ _ J = ------

\ ^ U h ^ --------------------------

p stacc.

y ^ ¡ s = ^ : : ^

a» V » ^ 1 1 p p

; ! »— «— « ----------^ *# ü — ü C J

34

, r i T i ^ 1. ■1»

II 'ti

II 'ti

II ■ll

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s * ¡ =

p p *

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f«1*------------- i -------------

V b f ff q J — [ j - 4 -1— — ------- »--------------- - L = J — *--------------- ------------------»-------------

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T , - fn

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42

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ri

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f y t ^

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P

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5 = ,

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* *

r J . cJ>m

”2 .

------T----- -\ ^ z —í: -V = • --------- è------------------

I=.. > _ j = ?

---------L t ---------- X

J 7 xÉ 7 ?

Page 82: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

50

Page 83: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

IXA ndante C51 J,"S ----

UR->- >I

IM

' Ile Rt=v:v Ì—J*-r- . . , m --S-* —0-0-0 M—S-♦g r ~r¡M - H / ] n p - T ^1) p

IR t

J ' ?JJ [^ fi l Sf r r * 4

* ’ *

A J J:

• ....... 4--------------• 3

■1

R R4

*

^ f^ S -

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/ 7 0 *

/ - -Z L

r r r * *

L t i t i d 7 =

Z * 0

- J — iE j —

3

i p

. * , g . * _ r : : :

. = r - . l

i *»

► --------------------------------------------

v i 7 J R J —

T - f “ ? ?

y

g--------------------------- V ? - b

» /

7 > /

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[ m t ' i i^ J - p

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l l ? ¥ J ^ m

u t t rT = ~ ^ - - 3

^ r - t r

— — -----------------y I < 0 :- ' 2 . . _ .

7 7 i j j w J

# ¥ ^ r — f f h --------------i 1 -p----a ---- -g --------------------------- 4i' ♦ « 0

I m J

\ 7

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p

r f

1— <1— • jr

- / i n i ». . / ___ •■»_ ..... _ » ---------

«

*

l - * Ucresc

L-J-

M

*

* 6 = 1fc fe ? t = t--------------- \ - * J J — *

1 — f ~

a i

Page 84: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

f S— - f f i v

i r1*—s ----a- — Ji1 1 5m I¿ y -

»

L r - c f l J *

F ^ r f f V — ft s , ■»

■J1P-fm-W j

--- /----- : G

> ¿--¿fre - J / u ^ S î W6f

Page 85: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting
Page 86: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

XXA llegro giocoso

"faf* WW ¿f’VVW ¿l*WW

Page 87: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

1

.

— m

R

---------------------

i

0 ~ J J

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= 1

-----------------

7

«

4 ..■6’

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A v v n

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p r - J ^ 3 ;

d

VWOf

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t a

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PS

Î 1 Éiu iip

2------- *#““ m i--------------X h* - - = £ t — — f ------ g & ) \* 5-..... ' *•

f i

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d

m » m *,

f F -

ß

= M

r = p %

------ ii

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a- -a

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~-a

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J = F #S T

i 7~ \------ ^*------------------p-p-------

-------------- ---- £ f

= = = = =^ » y

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é

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- f H—- - < c 1

F5-Ä-j - j *

rr> ç i

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H H - ■ * --------

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— R-

çz

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3fH" -

^ # =

F ^ H

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"

Jfe .üt= _ L _ J

3 J 1¥■ ■

■ —»

4 iM ■-■' 1H------m JJJ*U il a"rU -J-F=^JJ« » j) l Z

Page 88: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

f£ = % t» J3,m- ------------- ► rs

hJ

w

;

.

j > _

# . . . ; ? '

,J * 4 — 8*

¡H- a ' i 'f

Page 89: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

XXI

Page 90: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

15

g 7 *

18

J - J -* ÿ — «I— b |» ---------3 “ » ô W

^ i f i i r

Î F ^m 1»— »—rf = f

~m

-r- ïa f f f ì - i f t |J ¥ =

■HMr-

t r-

s— *1

#

# • = F I

»

T

l - "P

f ¥ f f f e r f r

Ï“ — ±/

*Ïf ------'

r*

R ^ S I

?=------ /

f e = j\ -7 l> i/ l = t ^ = y - *

w- F' L ------- 7 ^ - i-L

Ï

24

(f£H [ « - JT l*^«■w«

é

l*~T - § -

y

P~TrV J. fhr=f

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f VJ * J

^ cresc.

r £cCfi

JtW J P--------"" /r ryr ^

/ H»

h*1■H

y-f u

*==H :t ì i r .

^ 1 ' ;

#5s ± = — - -

♦-T»--'»■ tf

• —ï®—w -*-

—F V-J-

_ __

27 («)"‘l

Page 91: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

4 I 4~yrr

,,¡ i f ‘i V i

£ £4

£ 4

r r n ¡J m t i f r

A ± f " -±\: : z zr — ""---------------

i . à= : z z-»h — ------------------—

_ {J jHX*i] — 4 p 4 *— L

p ^ r r p _♦¿p*" *- Ä£. ,; .

' 9 m P m * r re.r.iC.C.1 : '| :(? U I

-----*----- ^ Í1,___ ^ f Y = ,H ~ + -

*»<-■ r - - ^

f f

fl?2 *■

vuip

t ï

/ s

Page 92: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

XXIIA lla m arcia solenne ( IN M EM O RI A M . M .G .)

. . . -0—0- m Ë-j N** ** & #—*------- *--Ìì *H t f - M M?m

e 0 ■ 0

=1=1(*

Ft=N

H j* 0

H[--!---

H N È P

vi—2. u 4>---------- - 1 l.a --f► 0-» * i J-

D

/ L 1'^ k — e — i « Vj--------- H ^ i♦

f = !

n r— « L .

«

. — Î

=H4 0 -0 • « e.1 Ît i

V v y " 1 ' b

*

r = H 0 (t t H 3=3- : -0 ------J

f ;EH► i

----- T 0 ;

r - r

”1-^■ :0

— s

i é ^ è .i '— 9

p =- 0 — t

É = fm

) # = := Jr

w t è i►-

0 — * • Jh * i

s s

: -

* 4------------

—0 —

f r i

t

f - n

f J• 0

i ~

■ r r —

-0

v ^ m A *—iL\ 1

'P-----------------a r

---------------------- -£ -M » -1—

1 2

( (yh h *!— *— ^ »-----i----- iË--- -i IH *F f t i0 0 — M -----49-----\*41 1

pi —

( tp> U b !f c

L_ * . ié?SC

h * —4P*-----4T

9— '—0 ----<9---- 0 ^ 0 - 0 0U (0 — 1 i—

) 4 i , r «»w ----- —\>+

!► i

1— ^9--- U0 ------------- ■0h w — «»— ^ p—l / n v !

= ^ H9----------

~W

Jil*— «^ = 4 » 7 0 4 J— pi

i j( u9 .0H t P i r f r kf — a

U d ì1 = # = 4

0-h( C<Tr ^ btjl

| 4 ) : - ik | , ^

U Ï

Ym• 0 -!

— ^

u=^x c H y

= # s

L %

1--------#f f =

ÀTt”1= S

if H

0 0

Ê - *

-• ------Lf erese.

- 4^? t*4

h

p éi ^------------- 1 -------- 01--■■ i>0

A i !:---------------------- *ï # 4 ?

!S0 l L $/ æ h > L ^

t t e ,^ 4# •

0 ï 0---

t ' 0

ta 0. r i j l ; » rfL Ï

0

Pi’ 0ta 0-A ^ i

Î

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1 -CO l/ 9------

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b]

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t L]• — 4

0f — 11

— ff—H-

M

0

f — i1

= #

!---- tf.

■J— tp— -----

t é j t -V l r f : V \ , \ ^ P;----

1

----- Ppi------- | ----r

----- «pi----- H i

tr*r

— -

Page 93: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

24 8p------- —f p ~ ~jà

^ r fs p-

* ««P ■ ?:

9-------tJÊ.1— !

i■—

p- 0------- p «

I CO v V

*Vi\r

*

m •

»■ i > m i » **-W- »

n*— * = i f ------ ;

f

»1-------

*

- f — <

9-------

►»

*-------p

hm m * -~T— f >

Vtr± = f â i V | • — «— - #

- T L r 1s

27

/ t o n rK ____________ t

j—i .. mj C o 3 b

I

I * ) ; ¡ k ; - -

'V-G

m

b ------------------------- * ! \ - ...; : :

dir

I---------- 1

n.

r l M

i — -f

* = H

= o r r

0d * » * • 5

0

"9 t ] 3 l > 3 j^ß-

-V *

Vm

— *—

31 r \

Page 94: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

A ndante m oderato. (alla mi

r ^ h n a * « i —

» E r ircia.) Ll

W k z

X X I I Ii R o n d e a u

ì f H

I W Z

■ ^ - 4 u

p

h a * ÿ n

Z J U =.

— ~

3 ^ L y

n F f f

*... i . i

, > _■¿H¿ j -

f

[JJh: -*---T--- 7--*---J J 4-------- p ^ _

--------------- J -

&1 S

a A *

cresc.

§ 5 1■O

g i* ä

2 4 (« )” ‘ l

I

is*a 3

3"»---------- _ A

stacc.-»— ------- w

Page 95: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

3 9

* IF f « F 3 =5 ----- * » * - r -T#--- ¡Í* p ^ f F f r f f ~ " F ^

, — • •

L t e t p

/

ta — “

= ¿ = :#> w i

— - ,«* ^

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s .

w i s

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% ¡ f íi i i

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dim.

V » ra s i E

r5i

fT#%hrj P

‘ > : ( t

~m

hr*-J-a

---------

4+J J J JJ

3 = ^ i *■

.... - 4* -J- *

JV ^ — r

H5- t í - * 1P •p-t] ■«T « ■==] *■ ■

——

:?

Page 96: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

0 ff 1

7 1 s

=W=jf ~ f ~

{ L j = i{ f — * • *

Î s£nA

: * = ^ = Vf2 •

r\— ?— V - 3r\

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Page 97: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 101: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting
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Page 103: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting
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Page 106: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 107: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting
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Page 109: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 110: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 111: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 112: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 113: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 114: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 115: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 116: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting
Page 117: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 118: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 119: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting
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Page 122: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 123: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 124: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 125: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting
Page 126: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 127: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting
Page 128: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting
Page 129: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

25 Poco meno mosso e rubato

Page 130: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 131: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting
Page 132: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting
Page 133: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting
Page 134: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting
Page 135: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

Alla Marcia

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Page 136: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 137: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

81

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Page 138: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 139: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

XXXIVTempo di Valse

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Page 140: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 141: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

59

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Page 142: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

XXXVAllegro moderato

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Page 143: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

1 6 s-\

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Page 144: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 145: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

i f e g

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Allegretto moderato ma con moto.

Page 146: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

16

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Page 147: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

U p 7 7

Page 148: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting
Page 149: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 150: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting
Page 151: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

XXXVIIFUGHETTA

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Page 152: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

27

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Page 153: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

3

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Page 154: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 155: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 156: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 157: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 158: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 159: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 160: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 161: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 162: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 163: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 164: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 165: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 166: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 167: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 168: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 169: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 170: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting
Page 171: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 172: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting
Page 173: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting
Page 174: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 175: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 176: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 177: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 178: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 179: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 180: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting
Page 181: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting
Page 182: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting
Page 183: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 184: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting
Page 185: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 186: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 187: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 188: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 189: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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Page 190: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting
Page 191: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting
Page 192: Charles Villiers Stanford’s Preludes for Piano op.163 ...eprints.maynoothuniversity.ie/6997/3/Adele_commins_Vol_3.pdf · most effective way of presenting the ... in terms of fitting

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