Adaglo.14. Bee*roven: l*onare Ove, ttre.,No. 3 - Beginning to bar 36

lb. Bretlroven: {.conoreOvertureNo. 3.-Bar3?8to 360

ii

2. Bellini: Norma* Casta Diva;Act I,37 to 38

crTrn.\r tf t*;*I e*pr*tirs,; e {esat*

ANO!€,Sfi,iS?,OA88AT

Bizefi Carmen-Act III, gntr acre; beginningts 2

Andtloqua*i .SP (.l'E

.>

3b. Bizet: C-arEer - Act lll, Ecoute, cornpagfion; beginning of No. 1g to 6

iltoiltx p, '-!

llltto murlt" {}"tt-to+}

The majesty and volatility of the sea arecentrar themes of Peter Grimes,which is set in a small English fishing village in

the late 1g20,s. Benjamin Britten composed four "Sea Interludes," vivid impressionist tone paintings, to connect the

scenes of the opera and project much of its atmosphere'

The first Interlude depicts a cold, gray dawn along the desolate beach of the village' The flute and violins' bleak tune

suggests a chilly breeze and, perhaps, the cries of lone gulls. Brass chorales embody the power and menace of the sea'

In this passage the flute should not project as a solo voice but must provide a silvery edge to the violin section' Keep

your vibrato spare in the opening measures, and strive to blend with the violins' sonority and intonation' The fortissimo

high C in the thirteenth -.ur.rr. of [11] can be kept down in pitch by adding the half-holed E key'

Grace notes in this excerpt should be played quickly onthebeat'

Excerpt l,Interlude 1 (Dawn)

Lento c brqnqllillo (J = *)r^c ^-.-.- '-\.G

PETER GRIMES@ copyright lgl|byBoosey & Hawkes Music Publishers Ltd. copyright Renewed'Reprinted by permission of Boosey & Hawkes, Inc'

,.li&.'

!",

,T

=

_'€

-(There is a page-turn here in the part')

Jon Vickers in the role ofPeter Grimes. Photo bYLouis Milangon used bYpermission of theMetropolitan OPeraArchives.

dl'm.

,s\=-!e

bs *E)

t"-*-^ ^ -6-.

dr'nr.

U-fs-.

--'--

pp aotctss.=

Fn. 1.3

sost. csprCSS.

::==-

-^.-(tr) ,r-^-r

ppPp

Ier'-e.

pp dolca

j=

't.

(Lc

trA,-

"R\-+l .

;r(lngu I ll o/

4..''S

;tr _ - y r Y YT w r r

-3.- s1t--e

>-ii---------'-:-

T

.g-sr' g

,-;;\--.-.----.-\

7.a Mozart -Me84c ILS& - Act I, lfie srsr& isr nicht dein Z*uberton!

[Note: The applicant may nlter the artieulation in this exctrpt.]

Andnqt*. (J'c'9i*$*)

Mozart: Maeic Flgtg - Act It Marsc* der Pri*ten,Ns. 9

N-lt 9. Ilarsch der hiester.Anrtanre.(d...*;p* n

6

Mozart Maeic Ftute *Act II, Finale: Marsch;No.21

If.*fIT-c..*-s)Soln ,-&.

ti. Puccini: La Bohdme *Aft I" Rehearsal figure 25

.1s;fa{Jrro*.n{

7

9. Puccini: Madarna, Butterfly * Act III, ? bdore 10 tq { *&g t!AILq YIY{} (Jr t++}

f d[ar*".]. .poco.*.. e lmco **-i--..-*.--..:=..

8

au I , r-

10a. Puccini: Manon Lespaut *Act I. beginning to 3

TLI,9 ift TL&AtrfE>-

, *----_ -*-----.:.=-*-

f,f*

t-!*f

---rhqf:i.*

t:

P da{*e

b:-:> i h

*.*. +- -

10b. Puccini: Manon tescgut - Act II" beginning for 19 bars

A.&"&{to trailla

Fzr E

10

i dia.

12. Rossini: Wiltiam*Iell - tlverture; Andante ta Allego vivace

$tlegrc yivaee d.rn*)

l2

I4. skauss, R.: golome * Dance af the seven Yeils;D tn the end of 3d bar after H

Ei*rntteh langsam, (J.fz;

1s

tt*tt)

15. Verdi: Don Cgrlo-Act [, No. 4; Perdut* bex, mt*soI resor

---\.I9a

c temPo

16

l6a" Verdi: Aida - Act ll, Triumphal Dance; E to FJ*u*-ue t

? *g*** i *i

l6b. Verdi: Aida -Act III, 4th bar after hginning to 136 bar

Ifft'rilrtr trfadfiA J=*-72

TLiIITO {?

$a*eato t l*ggcrt