Phantastische Symphonie. (In 5 Siatzen.) Symphonie Fantastique. Fantastic Symphony. (En 5 parties.) (In 5 movements.) Sr. Majestiit Nikolaus L, Kaiser von Russland, gewidmot, I. Triiumereien, Leidenschaften. Réveries. Passions. Visions and Passions. Largo. (250) H, Berlioz, Op. 14. aS aS »y 2 Flauti. Flanto II = Flauto piccolo. 2 Oboi. 2 Clarineiti in B (Sib). LULin Es @nib). 4 Corni MLLV. in © WO. 2 Fagot 2 Cornetti in B (Sib). (Gornets i pistons) 2 Trombe in © WO. ‘Timpani in€WOG God. = con sorting Violino I. = son sordino Violino I. =} on ending Viola. ‘on sordino Violoncello. Coutrabasso. Largo. = 50) at rae Gas | %— |S Pp en sn eer Dep roe HB. are 00 yap a.senza sord, pint arco FS Serres Pp crest. nf FI . gre mosso. Poco piit mosso. = Sele Poco pi mosso. Pere © Les onze mesures qu suirent sont une extréme diffienié; je ne saunas trop recommander aux chefs d'Orchestre de les faize répéter plu- sours fols et ve Ie plus krand soin,en commencant an changement de mourement (Pik mosso) et finierant & la renteée au theme (.tempo)e TL seru bon de fare étudier leur trait sux 1% et 2824 Viglons séparément dubord puis avee le reste de [Orchestre jag ee quis sole! parttenent srs do toutes les nuances de mouvement, qui me parsissent ce quit y a de plus difficile & abtentr de ln masee, avec Pensomble et Ie préciaion feonrenables. (ote de H. Rerlion) 7 Dio folgenden 11 Tukte sind von aussergevtdhalicher Sehuicrighety ich kann dem Divigenten nicht genus empfehlen, sie mekrmas und mit der sriseten Sorfatt vom Weehact des Zeitmasses (Pit mosse) bis sum Wiedersintntt dee Themas (Rempo 1) su wledertolen. B wial gut seinieee Sle ‘suerat mit den fn. 2. Viainen allein wad nnchher mit dem Wbrigen Orchester su studivan, be sie mil allen lattfangen des Zettnansnt volltommen vertraut sind, was mir mit der abthigen Tbereinstimmung nad Genauigvit von einer Menge von Spiclern am sehwersten tu erreichen sche ‘The following 4! bars are of unusual difficulty. Leannot sufficiently advise the conductor ¢9 repest them, and with the greatest ear fhe change in tine (Pit mosse) to the resumption of the theme (Tempo 1. Tels a good plan to take this passage at Cet with the violins’ CP and 2°) only and afterwards with the rest of the orchestra until they are perfectly familiar with all grades of the tempowhich sens t meso be the most difficult to obtain with the necessary unity and exaetness from a number of players BRL.poco rallent.e riten. al tempo I. re Pome - Pig, i oS orest POT 4 pT Seceentiatteateitenteieae Mga Perens molto ~ Tempo I. ‘crews. molfosenza rallent.ereae. poco a pocoBS Sie . . ‘Une mare de og monvemtn to. appassionato assai,(J= 182) fe Fait dare et is Zelfmancrs On ng moveme! Allegro agitato'e appassionato assai ’ a ae) - - - 7 rit (12) ais wy ‘reah poco @ poco ‘oreue poco a pococrit poco & poco - = oreve.molto reve malo! ‘reso, poco @ poco - * erect poco a poco’ erese. walla rece molto: ‘rrese. molto - HBAWB.ae Baguettes @'eponge] Schioemmschlager, Sponge-headed drum-sticks. we 15) poco ritenuto RA23 [16] "Tempo I. Tayjs. | gente, tanto’ ? 7 ettare millo. ~~ ~~ ——=2za728Baguettes €éponge, Schwammuchligel. Sponge-hesded drumsticks. 3 Viole div. Veelli, unis.1 30 animato 6 fy ae stl Be sf 6 tt, B, ize, “animato.Taree Boke ‘Timp. __ Sponge-head Y rallent. poco a poco” Poco a Poe? BtBe ‘Tempo I-piit animato.a3 oa ot rilard.pocoa poco. == = —————— ‘din’ poco a pbco - dim. poco poco -ae = poco pit lento = poco piu lento»? Religiosamente, ‘Tout Torceste aussi doux que possi Des guuse Orchester ao sar€ als math pr, Th hat orchoaten a ttt posi Baguettes &'éponge, Schtoammechidgel ealed dramatic 7 Religiosamente. BBL.I. a Kin Ball. Un Bal. A Ball. WALSE. Allegro non troppo.(d.:60) 2 Flauti. FlautoII =Flauto pieeolo. Oboe. 2 Clarinetti in A (Za). LILin E (fi). 4 Corni. TILIY. in OWD. ‘)Gornetto in A (La). (Corset « pistons) ArpaL Arpa IL. Violino I. ‘Violino I. Viola. Violoncello. Contrabasso. VALSE. Allegro non troppo.d-#0) 3 See fooe « poor Five. povo a poto- ‘von Berlioz im Autograph spiter hiniugefigt worden, Die Herausgeber empfehlen sie wegzulassen. ‘ronve sur Pautographe ca aid joule par Borlios plus tard. Les éditeure recommandent do Pomettre, crea vater adited ty Berlioe himself in the autograph. The editors recommend to omit same, WBA. © Diese Stimme Cette partie Thisarea tempo ese wempre|e res sempre|- Tree empTe| Creat epViol. pdolebetenero, Vigla. Yello.e C.B. rallent.. - Tempo I. ‘Arpal. CB. fallen. - Tempo [- © Le signe —indique qui fant tratner lo son dune note & Yautze (Berton) as Baichen aiedetee, dane der Ton von einer Note ur andar Rorabgesngen werden sl ‘The cig <2 indicates that the fone should be drawn down from one note to the other. HBAViglen. re Pea39 7 iol capre A Regupre pitz, O 25] senza rit. senza rit.HBA.> te erie peo a pore ~ “at pat) @ puro —— roar (Gempr? BPD Genre ver) (Genpre PED font. Farese. poco} trae pes) 4 poses]| | Velle.1. Yel «0.8. eee cuilo eapresite “aanto esprevsteo [canto esprensivo HBA,Fl, ee al Ob, ovese. poco fa poco - crese. mollo a Sere pobo |e poco - cree. wolfe ort ft Viol. o7ese. poco (apace ~ ie ‘poof tereses poco |a_ poco. HBA.+ G2 fee , Animato. i “Sreat. poco a [poco erase. poco |poe Ses se ee rallent. Animate.«| eee molto ee. mallo ‘reso. molto ‘trese. molto orese. molto WBA.50 (eresey (crete) erese. poco |a por “trese. poco fa poco. ‘rear. [poco @ poco. crest. [poco @ poco ‘oresc. poco a poco HBA,ress) 2 ae (eres) rene) ey (ore)38 WBA.rallent. poco rallent. pocorallent. ‘Tempo I. con fuoco. 2e e rallent. “Tempo I. con fuoco. HB,56 animato jb gt w=] ge] v|@ [36 “gnimatoerese, molto treses mole tree cto —————— Oe HBApitt vivo stringendo tte she ig pitt vivo HBA,5 WBA,60 in ++) pour le Finale cos 330 ot au Timbaliers iront prendse In Grosse Guise, et In Finale nehmen der J... 4. Paukensehliger die grosse Trommel, and daa sueite Paar Pavken wird vom sweiten Schlager allein 2 Planti. Oboe. Corno ing! (= Oboe Il) 2 Clarinetti Corni 1. tin F (Fa). Corno IL in Bs (arb), Corno IVin CUD. A Fagotti. ‘Timpani t B (Sib) F alto (Fe beat) ‘4.02. Timpaniste. Timpani W in As (Lab) € (Ut). Violino 1. Violino Ml. Viola. Violoncello e Contrabasso. Vollo.cOB. PP? “epiett Tl. Auf dem Lande. Scéne aux champs. In the country. Adagio. (+. 4) Derriive la scene. Hinter ser Scene Behind the sere, | oP rnb pend ee am yuee Timbales seront jouées par le 28° Timbalier sent. (4m) In the last movement (Pinale) the ae4and ath drameplayers must take the big-drum and the second pair of kettlerums be played hy: the steond druniner alone HBA.Fi on “=f == fat ‘Le Hautbois rentre & Forsinetrs, Der Hoboist geht tn das Orchester surtek. ‘The Odoeaplayer retuens tothe orcesten, a. Pa srvzn sora} plan, ae vree, pero al poro Ciar. Corni(inF) gl P88". poro HB,2 sg]Char. CorTV.(in6)wat senza accelerando 1, P senza accelerando f tfCorLIL(nF) (Cor I. Gor 1V.(inO) ‘Viol. eres. moltoben gs ‘crest. pero a pore -| me Fre mello = ‘reer. Foco «pore - |e ese molto ~ freer. foro a_poro - |= erean. malta reso: reer. molto oreae. poco = eveae, molto sk, aoe oat ee LP pressing == P espretsieo Se tremold tr see ‘din cA eto, very ghasp Tremolo iat Pan 7 Teenole txts srre * din. sehr dichten Premato. ‘shaxp Tremolo. Foose [pow ve | poco ce ‘Poco (41) fT dine poco a -67 =s =F oreae, ‘ - poco animato eee eee WA.Fi, poco animato (or.1V in G. Fy al itt tte “ie9" a3) Eee ‘Viol. is ok. sempre pit, ee ae sempre pla akoore pi ee = akvorm pil ereaohan pore resem por? | Yello, div. ma ,70 eB et = == cu,» ate [2 Se Cor LIT. Te = Cor.IIT. = a =k — = WALwast nionte ; EP asi niente was niente aE PPP presi niente mp past irate ged nent “Viol, 780. poco @ poo BBE. pote a “pote * ‘O19. poeo @ pot = 45)Ss Mi

oS dnl Bee sa 1%76 W. Gang zum Hochgericht. Marche au Supplice. The Procession to the Stake. Allegretto non troppo.(d =72) 2 Flanti. 2 Oboi. 2 Clarinetti in CY. LIL. in B basso (St srnve), 4 Corni. ILIV, in Bs (fib). 3% a2 4 Fagotti. 2 Cornetti in B (Sib). (Coriets b pistons) 2 Trombe in B(Si}). ‘Tromboni le ‘Trombone IL. 2 Tube. Timpani 1 B (Fa). With sponge-hended | ranks ‘Pil faut feapper la premitre eroche de elaque temps aveo les deax baguettes eles cing autres oroches vec iu baguetie de fx main drotte seement 7 7 “Die erat teltlnate Seles hafien fatter mind mit swei Sedge geneWagen die andern finf Ache ‘Timpani [consort woven mit dem Sehlagel der rechten Hand. Baguettes d'éponge. “_ and drumsstiekg | =e a sae Ntrnwaticks * ‘Tamburo. Cinelli. Gran Tamburo. (Grosse Caisse) Violino. Violino I. Viola. Violoncello. avin a PEE Contrabasso. Allegretto non troppo. (2 =22) *) on peut, dans co moreeny, doubler Los instruments a vent, (ete de at Tn diesem Sats Adnuen die Blasinetramente verdoppel! werden. in this movement the windnstruments may be double ay pg, lex)7 reve, poco a poreHBA.Trom, ° Tubal. Timp? Gineli. Gr-Tamb.Was,MaHBA8688HBL sempre pit forte ‘sempre pli forte sempre phi forte sempre pit forte compre pit forteBaguettes de bos, Hoch. Wooden drumsticks, Baguettes de bois. senan sordiis) Holstebel. int") Wooden dramesticks. er *) Diese Anmerkung lsst daranfsehtiasen, dass der Componist dle Pavken mu Anfang dleses Stickes con sordint (coperti) haben wollte Cette ind i; i 7 ‘nm. a. Herausgeber. tte indication pormet de supposer gue le compositeur voulait aves sourdines lee timbales ax commencement de ce morcea. apeee @ Néte des éditeure ‘This remark leads to the condlusion that the compoter desired the keltledrums to be maffled at the beginning of this pice HB Nate by the BaitorsWB.HBA.uta in HSH). t dim. - 58) *) Thy pas do fante do eo fel; cest bien Daccotd de Sol naturel mineur qui froiase de trés prés Yaccord de Rébimel majeur; sande aux Vion ot Altos de ne pas a0 senpre din. sempre dim.| Wapre din. | HBA.130 dint sempre. —". | WB.v7 , prog |* w. | = [ba Poroftdin:) 1 mB 434 din.78) Un Tinbalie Ein Seltige On0 drums crese, poco a poco - ‘orese. poco a poco -Hues deux Timbalier zéunis. LBeide Sedlager susammen. [Both drummers together, = pores. poco « poco -senza sor. senza sora. e erese, |paro'a ' pobo} ~ orese. sempre erese. | poco @ poco] = > 7 ‘reso. sempre = orese. | poco @ povo| ~ oreso. sempre = eres. | poco polo| . reso. compro.erete alloy ‘erese mel) InP terns mae nf (eres mato) (eves: allay erese. molto areae, molto ‘rea. allo rene. molto(empresa) (comme £7) Geemple SP) emare D Genre g2)198 Dies irae ot Ronde du Sabbat (ensemble). Dies irae und Hexenrundtans (zusammen). Dies irae and witches’ round dance (together).110142 ‘ol le ‘ol loge HBL443 HBA.WBA¥, ‘ leggiere az. te, —p leggivra136 HBA.5 «hap a Ss ea ae ee al eal a be 3 | [rao| = a| eta bide te teeny net sy ey H Ih eee PPL >| PPD Prd want, ES148 fine ee yh hb ye es $s5t8e a s se le $e a ¢ s f erste Sete $ vy yoy WY OP 9 a. |e ec elie eees i ret hy alr ra : POPS etetiete titties i ree HP oP SP y Zot. + + ual so ips + ¥ = ptas 1.5% ¢ ke tote ry SiS SSS Se z poco animato wat.rt et et a v P oe * we seoresis! = v reg ee t £ £ 5 vals e « Pov tons pe ¢ ee ete Te. Coup fr Schlag auf vin Borken mil teklagel oder Kloppe Stewek on eymba drum-tick ierrese osssses severe s geeeee seeeee: HS pos ead ssssss seers pos > = oes Cymbate aree une Baguette an tampon. iT with a sponge-heuded Schwann 3989 2 tle eepesh: TD