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35
PETER GELLHORN MOORAGH, JULY, 1940 (1940) FOR MALE CHOIR AND STRINGS RCM EDITIONS

Transcript of PETER GELLHORN - rcm.ac.uk Peter Gellhorn.pdfPETER GELLHORN - rcm.ac.uk ... peter gellhorn

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PETER GELLHORN

MOORAGH, JULY, 1940 (1940)FOR MALE CHOIR AND STRINGS

RCM EDITIONS

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About RCM Editions

RCM Editions are performing editions of works. They have been created to supportCollege performances, recordings and research. They are published to bring the

works to a wider public.

About the Peter Gellhorn Project

This edition was created as part of the AHRC-funded Cultural Engagement Project“Exile Estates – Music Restitution: The Musical Legacy of Conductor/Composer

Peter Gellhorn”, in collaboration with the International Centre for Suppressed Music(ICSM) and the Jewish Music Institute (JMI).

Project supervisor: Norbert Meyn

Cultural Engagement Fellow: Dr. Terence Curran

Advisor (ICSM): Professor Erik Levi

General Editor: Dr. Bruno Bower

Assistant Editors: Catherine Cheung, Lison Favard, Ray Leung, PiyawatLouilarpprasert, Tim Maryon, Randall Scotting.

© 2016 Royal College of Music, London (graphic rights only), and Mary, Barbara,Martin and Philip Gellhorn. All rights reserved.

This RCM Edition is supported by:

We would also like to acknowledge the support of the British Library in providingaccess to its collection of Peter Gellhorn’s papers.

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Preface

In this camp [...] one has nothing substantial to complain of except having to be here. There are several pianos, of which one will do for recitals, and I have given quite a few, alone and with string players. Since I came here I wrote a piece for malechoir and strings, two studies for violin alone, and two pieces for strings without Double Bass.1

In May and June 1940, the British government introduced a policy of mass internment of ‘enemy aliens’ in the UK.2 These included many who had fled Nazi oppression in Germany and Austria and found refuge in Britain. Many of them, including Peter Gellhorn, were sent to internment camps on the Isle of Man. There, in Mooragh Camp, Gellhorn met many fellow musicians including Hans Keller, Paul Hamburger, and Ferdinand Rauter. The latter, after his release, enlisted prominent figures including Sir George Dyson (Director of the Royal College of Music) and Ralph Vaughan-Williams to help secure the release of fellow internees.3

I had a letter from Vaughan Williams saying his committee had recommended me to the [Home Office] for release in the last week of November, and therefore the monotony of this life is not only broken, but rather shattered by the constant ups and downs of expectations which raise you to a tense pitch by about 11am, and then youdrop again for the day, because by that time all the new releases have been announced.4

It is very likely that Mooragh is the piece for male choir and strings referred to in Gellhorn’s letter. We know that he conducted a male choir in the camp, and the piece, dated August 1940, was most likely written for it. The piece can be performed by a male choir with a string orchestra or by four vocal soloists with a string quartet and (if available) a double bass.

The poem Mooragh by F. F. Bieber was first published in the camp newsletter, the Mooragh Times in August 1940 and then again in October 1940 in a collected volume of poems by internees, published under the title Stimmen hinter Stacheldraht[Voices behind Barbed Wire].5

With so many artists and intellectuals together in such a confined space it was not surprising that so much creative activity took place. Gellhorn stated that while in Mooragh internment camp he taught music, directed choirs and ensembles, and ‘gave more recitals than ever in my life’, as well as finding time for composition. He was eventually released on 21 January 1941.6

Dr. Terence Curran and Norbert Meyn

References:

1. Gellhorn, P. (1940-1943). Letter to Priaulx Rainier, 26 November 1940. IPR/3/27 – letters from Hans [Peter] Gellhorn to Priaulx Rainier. Royal Academy of Music Library. London.

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2. Dove, R. (2014). 'Most Regrettable and Deplorable Things have Happened': Britain’s Internment of Enemy Aliens in 1940. In H. Gál, Music behind barbed wire: a diary of summer 1940 (pp. 28-40). London: Toccata Press.

3. Rauter, Ferdinand, “Die Gründung der Anglo-Austrian Music Society” (The foundation of the Anglo-Austrian Music Society), unpublished essay, Ferdinand Rauter Archive, Music and Migration Collection, University of Salzburg.

4. Gellhorn, P. (1940-1943). Letter to Priaulx Rainier, 23 December 1940. IPR/3/27 – letters from Hans [Peter] Gellhorn to Priaulx Rainier. Royal Academy of Music Library. London.

5. Internierten des Mooragh Camp (Ed.). (1940). Stimmen hinter Stacheldraht [Voices behind Barbed Wire]. Ramsey, Isle of Man: Mooragh Camp.

6. Gellhorn, P. (2002). Interview by Geraldine Auerbach, Martin Anderson, and BettySagon Collick, 9 January 2002 [Video]. London: International Centre for Suppressed Music [Copy of video donated to Royal College of Music Library]. Excerpt available at: https://www.youtube.com/watch?v=8wI_SUsIa7A&feature=youtu.be

Editorial Statement

A collection of Peter Gellhorn’s papers, including autograph manuscripts for all of his extant compositions, was donated to the British Library on 30th April 2010 and 20th July 2011 as Music Deposit 2010/15. The official reference for the collection is now MS Mus. 1800, and a complete catalogue can be found at www.petergellhorn.com /sheet-music. Alongside sketches and drafts, the composition manuscripts include a number of autograph fair copies, written in ink, clearly notated, and with few corrections, suggesting that Gellhorn intended them to be regarded as authoritative. It has therefore been possible to make urtext editions of these works, accurately conveying Gellhorn’s intentions. Some minor corrections and changes to formatting have been made so that the scores are ready for use by performers, in keeping with the ethos of the RCM Editions. On a similar basis, any specific modifications are outlined in the preface to each work, rather than using editorial brackets in the score,in order to reduce clutter on the page and to ensure easy reading. For an overarching outline of the approach to transcription, see “The Peter Gellhorn Edition:General Statement”, available at www.petergellhorn.com/sheet-music and at researchonline.rcm.ac.uk/69/.

Sources

The Gellhorn Papers contain two autograph manuscripts for Mooragh, catalogued under MS Mus. 1800/3/2 Vocal music; 1940-1954: a fair second bass part, and a fair score. The latter has been taken as the primary copy text, with the latter consulted toensure consistency.

The fair score is written in black ink (with a few corrections in blue ink) on unevenly cut tracing paper with between 13 and 14 hand-drawn staves per page. The manuscript is formed from seven single-sided folios sewn together with black thread through the left-hand edge to make a fourteen-page booklet measuring 286mm by 428mm. The contents are as follows:

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[i]: Title pagepp.2-5: Score[ii]: Blank page

Specific Editorial Remarks

In the autograph score the four voice parts are written over two staves, and the cello and double bass parts are written on a single stave. In the present edition they have been separated out into independent staves for clarity.

The following minor correction has also been made:

Measure 29: in the score, Gellhorn writes a hairpin over the entire bar above each of the string staves, while the mezzo-piano and piano markings are written below the stave. The present edition splits these hairpins into two, either side of the piano markings, and places them below the stave, for ease of reading.

Dr. Bruno Bower

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(This page has been left blank to facilitate page turns)

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Peter Gellhorn (1912–2004)F. F Bieber (dates unknown)

Mooragh, July, 1940

© 2016 Royal College of Music, London (graphic rights only), and Mary, Barbara, Martin and Philip Gellhorn. All rights reserved.

Tenor I

Tenor II

Bass I

Bass II

Violin I

Violin II

Viola

Violoncello

Double Bass

Be

p

yond

- barbed

wire

The sea

And

the

Be

p

yond

- barbed

wire

The sea

And

the

Be

p

yond

- barbed

wire

The sea

And

the

Be

p

yond

- barbed

wire

The sea

And

the

pizz.

mp

mp

p

p

p

p

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7

T. 1

T. 2

B. 1

B. 2

Vln. I

Vln. II

Vla.

Vc.

Db.

sun's

last

fire

burn

ing

up

a

tree

And

a

cot

tage

- on

the

green

sun's

last

fire

burn

ing

up

a

tree

And

a

cot

tage

- on

the

green

sun's

last

fire

burn

ing

- up

a

tree

And

a

cot

tage

- on

the

green

sun's

last

fire

burn

ing

- up

a

tree

And

a

cot

tage

- on

the

green

mp

8

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13A

A

T. 1

T. 2

B. 1

B. 2

Vln. I

Vln. II

Vla.

Vc.

Db.

hill.

Gulls

mp

Gulls

idl

e

- on

the

beach,

hill.

mpidl

e

- on

the

beach,

hill.

mp

Gulls

idl

e

- on

the

hill.

mp

Gulls

arco

mp

mp

Sul LaSul Mi

mp

9

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18

B

B

T. 1

T. 2

B. 1

B. 2

Vln. I

Vln. II

Vla.

Vc.

Db.

Then

mf

rise

cresc.

in

to- the

air

and

cry.

f

Then

mf

rise

cresc.

in

to- the

air

and

cry.

f

beach,

Then

mf

rise

cresc.

in

to

- the air

and

cry.

f

idl

e

- on

the

beach,

Then

rise

mf cresc.in

to- the

air

and

cry.

f

pizz.

fz

arco

f

f

f

pizz.

mp

arco

f

f

10

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24

T. 1

T. 2

B. 1

B. 2

Vln. I

Vln. II

Vla.

Vc.

Db.

cresc.

ff

pizz.

fz

mf

p

3 3 3

cresc.

ff

pizz.

fz

mf

p

33

cresc.

ff

pizz.

fz

mf

p

3

3

cresc.

ff

pizz.

fz

mf

p

cresc.

ff

pizz.

fz

mf

p

11

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C

C

30

T. 1

T. 2

B. 1

B. 2

Vln. I

Vln. II

Vla.

Vc.

Db.

We

mpcan

but

pace

our

cage

and

let

poco a poco cresc.

our

hung

ry

-

The

mf

field

a

cross

- the

bay

we

can not

- reach,

and

mp

let

poco a poco cresc.

our

hung

ry

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The

mf

field

a

cross

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we

can not

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and

mplet

poco a poco cresc.our

hung

ry

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let

poco a poco cresc.our

hung

ry

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mp

p

poco a poco cresc.

mp

p

poco a poco cresc.

mp

p

poco a poco cresc.

mp

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poco a poco cresc.

mp

p

poco a poco cresc.

12

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37

D

D

T. 1

T. 2

B. 1

B. 2

Vln. I

Vln. II

Vla.

Vc.

Db.

eye

Take

in

far

love

li

- ness

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which

will

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main,

mf-

eye

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in

far

love

li

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main,

mf

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eye

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in

far

love

li

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main,

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in

far

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main,

mf

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arco

p

mf

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3

arco

mf

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13

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43

T. 1

T. 2

B. 1

B. 2

Vln. I

Vln. II

Vla.

Vc.

Db.

f

marc.

f

f

f

f

14

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49

T. 1

T. 2

B. 1

B. 2

Vln. I

Vln. II

Vla.

Vc.

Db.

Be

fyond

- our

which

ppwill

re

main

-

which

ppwill

re

main

-

p

pp

p

pp

pp

p

pp

pp

p

15

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E

E

57

T. 1

T. 2

B. 1

B. 2

Vln. I

Vln. II

Vla.

Vc.

Db.

sad

ness

-

and

be

yond

- de

spair

-

be

f

yond

- de

spair

-

Be

f

yond

- our

stub born

- hope,

be

f yond

- de

spair

-

Be

fyond

- our

stub born

-

Be

mfyond

- our

sad

ness

-

be

yond

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spair

-

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f

yond

- our

pizz.

ffz

arco

f

3 3

pizz.

ffz

arco

mf

p

3

pizz.

ffz

arco

f

3

ffz mf

poco a poco cresc.

ffz mf

poco a poco cresc.

16

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62

T. 1

T. 2

B. 1

B. 2

Vln. I

Vln. II

Vla.

Vc.

Db.

hope,

stub born

- hope,

f

ff

3 3

f

ff

3 3

ff

3 3

ff

3

ff

17

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64

F

F

T. 1

T. 2

B. 1

B. 2

Vln. I

Vln. II

Vla.

Vc.

Db.

be

f yond

- our

fair

and

puz zled

- sense

of

just

mfice.

-

They

ppwill

stand,

this

p

be

f yond

- our

fair

and

puz zled

- sense

of

just

mfice.

-

this

p

pier,

this

be

f yond

- our

fair

and

puz zled

- sense

of

just

mfice.

-

this

pbay,

this

beach,

this

be

f yond

- our

fair

and

puz zled

- sense

of

just

mfice.

-

They

pp

will

stand,

this

p

p

pp

pp

p

18

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72

T. 1

T. 2

B. 1

B. 2

Vln. I

Vln. II

Vla.

Vc.

Db.

sea,

This

dis

tant

- friend

mp

li- ness

- of

wood ed

- land.

p To

mp

bid

fare

sea,

This

dis

tant

- friend

mp

li- ness

- of

wood ed

- land.

p

sea,

This

dis

tant

- friend

mp

li- ness

- of

wood ed

- land.

p

sea,

This

dis

tant

- friend

mp

li- ness

- of

wood ed

- land.

p

p

mp

p

mp

3

mp

div.

p

mp

p

mp

p

mp

mp

mp

19

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G

G

78

T. 1

T. 2

B. 1

B. 2

Vln. I

Vln. II

Vla.

Vc.

Db.

well

to

us

sempre pp

when

we

are

free,

when

fwe

are

when

pp

we

are

free,

when

fwe

are

when

ppwe

are

free,

when

fwe

are

To

pbid

fare

well

- to

us

sempre pp

when

we

are

free,

when

fwe

are

p

pp

p

pp

p

p

p

p

20

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H

H

86

T. 1

T. 2

B. 1

B. 2

Vln. I

Vln. II

Vla.

Vc.

Db.

free,

when

p we

are

free.

free,

when

p we

are

free.

free,

when

p we

are

free.

free,

when

p we

are

free.

f

ff

pp

3

3 3

f

ff

pp

pizz.

mf

p

3

3

f

ff

pp

3

f

ff

pp

pizz.

mf

p

f

ff

pizz.

mf

p

21

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Peter Gellhorn (1912–2004)F. F Bieber (dates unknown)

Tenor ITenor IIBass IBass II Mooragh, July, 1940

© 2016 Royal College of Music, London (graphic rights only), and Mary, Barbara, Martin and Philip Gellhorn. All rights reserved.

Be

p

yond

- barbed

wire

The sea

And

the

sun's

last

fire

burn

ing

up

a

Be

p

yond

- barbed

wire

The sea

And

the

sun's

last

fire

burn

ing

up

a

Be

p

yond

- barbed

wire

The sea

And

the

sun's

last

fire

burn

ing

- up

a

Be

p

yond

- barbed

wire

The sea

And

the

sun's

last

fire

burn

ing

- up

a

10 A

tree

And

a

cot

tage

- on

the

green

hill.

Gulls

mp

Gulls

idl

e

- on

the

tree

And

a

cot

tage

- on

the

green

hill.

mpidl

e

-

tree

And

a

cot

tage

- on

the

green

hill.

mp

Gulls

tree

And

a

cot

tage

- on

the

green

hill.

17

B

beach,

Then

mf

rise

cresc.

in

to- the

air

and

cry.

f

on

the

beach,

Then

mf

rise

cresc.

in

to- the

air

and

cry.

f

idl

e

- on

the

beach,

Then

mf

rise

cresc.

in

to

- the air

and

cry.

f

mp

Gulls

idl

e

- on

the

beach,

Then

rise

mf cresc.in

to- the

air

and

cry.

f

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24 C

We

mpcan

but

pace

our

The

mf

field

a

cross

- the

bay

we

can not

- reach,

The

mf

field

a

cross

- the

bay

we

can not

- reach,

We

mp

can

but

pace

our

35

cage

and

let

poco a poco cresc.

our

hung

ry

- eye

Take

in

far

love

li

- ness

-

which

will

Re

-

and

mp

let

poco a poco cresc.

our

hung

ry

- eye

Take

in

far

love

li

- ness

- which

will

Re

-

and

mplet

poco a poco cresc.our

hung

ry

- eye

Take

in

far

love

li

- ness

- which

will

Re

-

cage

and

let

poco a poco cresc.our

hung

ry

- eye

Take

in

far

love

li

- ness

- which

will

Re

-

D41

E

main,

mf Be

fyond

- our

sad

ness

-

main,

mf

main,

mf which

ppwill

re

main

-

main,

mf

which

ppwill

re

main

-

Be

mfyond

- our

Tenor I, Tenor II, Bass I, Bass II2

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58

and

be

yond

- de

spair

-

be

f

yond

- de

spair

-

Be

f

yond

- our

stub born

- hope,

be

f yond

- de

spair

-

Be

fyond

- our

stub born

- hope,

sad

ness

-

be

yond

- de

spair

-

Be

f

yond

- our

stub born

- hope,

64 F

be

f yond

- our

fair

and

puz zled

- sense

of

just

mfice.

-

They

ppwill

be

f yond

- our

fair

and

puz zled

- sense

of

just

mfice.

-

this

p

be

f yond

- our

fair

and

puz zled

- sense

of

just

mfice.

-

this

pbay,

be

f yond

- our

fair

and

puz zled

- sense

of

just

mfice.

-

They

pp

will

stand,

70

stand,

this

p

sea,

This

dis

tant

- friend

mp

li- ness

- of

wood ed

- land.

p

pier,

this

sea,

This

dis

tant

- friend

mp li- ness

- of

wood ed

- land.

p

this

beach,

this

sea,

This

dis

tant

- friend

mp

li- ness

- of

wood ed

- land.

p

this

p

sea,

This

dis

tant

- friend

mp

li- ness

- of

wood ed

- land.

p

Tenor I, Tenor II, Bass I, Bass II 3

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76 G

To

mp

bid

fare

well

- to

us

sempre pp

when

we

are

free,

when

pp

we

are

free,

when

ppwe

are

free,

To

pbid

fare

well

- to

us

sempre pp

when

we

are

free,

83 H

when

fwe

are

free,

when

fwe

are

free,

when

fwe

are

free,

when

fwe

are

free,

89

when

p we

are

free.

when

p we

are

free.

when

p we

are

free.

when

p we

are

free.

Tenor I, Tenor II, Bass I, Bass II4

Page 26: PETER GELLHORN - rcm.ac.uk Peter Gellhorn.pdfPETER GELLHORN - rcm.ac.uk ... peter gellhorn

Peter Gellhorn (1912–2004)F. F Bieber (dates unknown)

Violin I

Mooragh, July, 1940

© 2016 Royal College of Music, London (graphic rights only), and Mary, Barbara, Martin and Philip Gellhorn. All rights reserved.

pizz.

mp

mp

mp

13A

arco

mp

18 B

pizz.

fz

arco

f

23

cresc.

ff

3 3 3

27 C

pizz.

fz

mf

p

mp

31

p

35

poco a poco cresc.

arco

p

40 D

mf

Page 27: PETER GELLHORN - rcm.ac.uk Peter Gellhorn.pdfPETER GELLHORN - rcm.ac.uk ... peter gellhorn

46

f

p

53E

pp

pizz.

ffz

59

arco

f

f

3 3

3

63 F

ff

p

3

73 mp

p

mp

3

G78

p

pp

H86

f

ff

3

3 3

89

pp

Violin I 3

Page 28: PETER GELLHORN - rcm.ac.uk Peter Gellhorn.pdfPETER GELLHORN - rcm.ac.uk ... peter gellhorn

Peter Gellhorn (1912–2004)F. F Bieber (dates unknown)

Violin II

Mooragh, July, 1940

© 2016 Royal College of Music, London (graphic rights only), and Mary, Barbara, Martin and Philip Gellhorn. All rights reserved.

p

6

11A

mp

Sul LaSul Mi

17 B

f

cresc.

25

ff

pizz.

fz

mf

33

29 C

p

mp

p

35

poco a poco cresc.

D41

arco

marc.

f

Page 29: PETER GELLHORN - rcm.ac.uk Peter Gellhorn.pdfPETER GELLHORN - rcm.ac.uk ... peter gellhorn

48

p

E57

pizz.

ffz

arco

mf

p

3

62

f

ff

3 3

F68 p

mp

75

G

div.

p

mp

p

82 H

pp

f

88

ff

pp

pizz.

mf

p

3

3

Violin II 3

Page 30: PETER GELLHORN - rcm.ac.uk Peter Gellhorn.pdfPETER GELLHORN - rcm.ac.uk ... peter gellhorn

Peter Gellhorn (1912–2004)F. F Bieber (dates unknown)

Viola Mooragh, July, 1940

© 2016 Royal College of Music, London (graphic rights only), and Mary, Barbara, Martin and Philip Gellhorn. All rights reserved.

p

6

11A

mp

16

B22

f

cresc.

ff

27 C pizz.

fz

mf

p

mp

33

31

p

35

poco a poco cresc.

D41

mf

arco

3

Page 31: PETER GELLHORN - rcm.ac.uk Peter Gellhorn.pdfPETER GELLHORN - rcm.ac.uk ... peter gellhorn

44

47

f

50

pp

pp

55 E

pizz.

ffz

arco

f

3

62

ff

3 3

64 F

pp

72 p

mp

77 G H

p

p

f

87

ff

pp

3

90

Viola 3

Page 32: PETER GELLHORN - rcm.ac.uk Peter Gellhorn.pdfPETER GELLHORN - rcm.ac.uk ... peter gellhorn

Peter Gellhorn (1912–2004)F. F Bieber (dates unknown)

VioloncelloMooragh, July, 1940

© 2016 Royal College of Music, London (graphic rights only), and Mary, Barbara, Martin and Philip Gellhorn. All rights reserved.

p

8 A

pizz.

mp

19

B

arco

f

cresc.

ff

27 C

pizz.

fz

mf

p

mp

33

p

poco a poco cresc.

39 D

arco

mf

47

f

p

pp

pp

56 E

ffzmf

poco a poco cresc.

Page 33: PETER GELLHORN - rcm.ac.uk Peter Gellhorn.pdfPETER GELLHORN - rcm.ac.uk ... peter gellhorn

62

ff

3

64 F

pp

72

p

mp

77 G H

p

f

88

ff

pp

pizz.

mf

p

Violoncello 3

Page 34: PETER GELLHORN - rcm.ac.uk Peter Gellhorn.pdfPETER GELLHORN - rcm.ac.uk ... peter gellhorn

Peter Gellhorn (1912–2004)F. F Bieber (dates unknown)

Double Bass

Mooragh, July, 1940

© 2016 Royal College of Music, London (graphic rights only), and Mary, Barbara, Martin and Philip Gellhorn. All rights reserved.

p

8 A

B22

f

cresc.

ff

pizz.

fz

mf

29 C

p

mp

p

35

poco a poco cresc.

D41

arco

mf

f

p

50 E

ffzmf

poco a poco cresc.

62 F

ff

p

Page 35: PETER GELLHORN - rcm.ac.uk Peter Gellhorn.pdfPETER GELLHORN - rcm.ac.uk ... peter gellhorn

71

mp

mp

G78 H

p

f

87

ff

pizz.

mf

p

Double Bass 3