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Transcript of Tsina ydafolk.gov.ge/wp-content/uploads/2020/06/shromis-simgerebi.pdfwinaTqma cnobili qarTveli...
proeqtis xelmZRvaneli da konsultanti ivane JRenti _ musikismcodne, xelovnebaTmcodneobis doqtori, profesori
Project manager Ivane Zhghenti _ Musicologist, Doctor of Arts, Professor
krebulis audiomasala gaSifra da daakabadona levan veSapiZem
Notation of the audio materials and pagination of the collection Levan Veshapidze
eTnomusikologi, saqarTvelos folkloris saxelmwifo centris galobis mimarTulebis xelmZRvaneli
Ethnomusicologist, Head of Chanting Direction at the Folklore State Centre of Georgia
redaqtori baia asieSvili _ Editor Baia Asieshvili
saqarთvelos folkloris saxelmwifo centris mTavari redaqtori _ Editor-in-chief at the Folklore State Centre of Georgia
konsultanti nino maxaraZe _ eTnomusikologi, ilias saxelmwifo universitetis asocirebuli profesori
Consultant Nino Makharadze _ Ethnomusicologist, Associate professor at Ilia State University
proeqtis koordinatori Tamar CxeiZe _ Project coordinator Tamar Chkheidze
musikismcodne, xelovnebaTmcodneobis doqtori, asocirebuli profesori _ Musicologist, Doctor of Arts, Associate professor
Targmani maia kaWkaWiSvilisa _ Translated by Maia Kachkachishvili
dizaineri nikoloz gogaSvili _ Designer Nikoloz Gogashvili
SemoqmedebiTi jgufi daxmarebisaTvis did madlobas uxdis eTnomusikolog Tea kasaburs
The creative team would like to thank the ethnomusicologist Tea Kasaburi for help
© saqarTvelos folkloris saxelmwifo centri _ The Folklore State Centre of Georgia
Tbilisis saxelmwifo konservatoria _ Tbilisi State Conservatoire
fondi qarTuli galoba _ Georgian Chanting Foundation
ISMN 979-0-802101-40-1
sarCevi _ Content
winaTqma ................................................................................... 5
redaqtorisagan ...................................................................... 6
avtorisagan ............................................................................ 7
Tavi pirveli – nadi da misi Tanmxlebi simRerebi .............. 10
Tavi meore – oTxxmiani naduri simRerebi .......................... 22
Tavi mesame – naduri simRerebis warmoSoba ........................ 36
gamoyenebuli literatura ................................................... 45
Sromis simRerebi
aWara
1. lela _ wyavroka ............................................................. 83
2. yaranai _ wyavroka .......................................................... 98
@@guria
3. Semoqmedura _ vani ....................................................... 114
4. yanuri _ zemo surebi .................................................... 125
5. moqceula _ zemo surebi ............................................... 176
6. elesa _ qvenobani .......................................................... 227
7. baileTura _ CoCxaTi ................................................... 236
8. elesa _ CoCxaTi ............................................................ 266
9. CoCxaTura _ CoCxaTi .................................................... 272
10. jiqura _ WanieTi .......................................................... 304
11. elesa _ xevi ................................................................... 328
Introduction ............................................................................ 47
From the editor ....................................................................... 48
From the author ...................................................................... 49
Chapter I – Nadi and its Accompanying Songs ............................ 51
Chapter II – Four-part Naduri songs .......................................... 60
Chapter III – The Origin of Naduri Songs ................................... 72
Bibliography ........................................................................... 79
Labor songs
Adjara
1. Lela – Tsqavroka ............................................................... 83
2. Qaranai – Tsqavroka ......................................................... 98
Guria
3. Shemokmedura – Vani ..................................................... 114
4. Qanuri – Zemo surebi ...................................................... 125
5. Moktseula – Zemo surebi ................................................. 176
6. Elesa – Kvenobani ........................................................... 227
7. Bailetura – Chochkhati ..................................................... 236
8. Elesa – Chochkhati .......................................................... 266
9. Chochkhaturaa – Chochkhati ............................................ 272
10. Jikura – Chanieti ............................................................. 304
11. Elesa – Khevi .................................................................. 328
3
imereTi
12. naduri _ didi rgani ..................................................... 335
13. namgluri _ zemo simoneTi ............................................ 338
14. naduri _ meore sviri ................................................... 341
15. xelxvavi _ meore sviri ................................................. 383
16. naduri _ xreiTi ........................................................... 387
17. namgluri _ xreiTi ........................................................ 393
leCxumi
18. naduri _ lasuriaSi ...................................................... 397
19. odoia _ lasuriaSi ...................................................... 400
20. usaxeluri naduri _ usaxelo ...................................... 404
21. Zveli naduri _ usaxelo .............................................. 407
samegrelo
22. oCeSxvei _ muxuri ......................................................... 411
23. oYonuri _ jgali ......................................................... 417
24. odoia _ xobi ................................................................ 420
svaneTi
25. naduri _ Coluri ......................................................... 428
simRerebis teqstebi ............................................................ 431
Semsruleblebi .................................................................... 437
Imereti
12. Naduri – Didi rgani ........................................................... 335
13. Namgluri – Zemo Simoneti ............................................... 338
14. Naduri – Meore sviri ......................................................... 341
15. Khelkhvavi – Meore sviri ................................................... 383
16. Naduri – Khreiti ............................................................... 387
17. Namgluri – Khreiti ............................................................ 393
Lechkhumi
18. Naduri – Lasuriashi .......................................................... 397
19. Odoia – Lasuriashi ........................................................... 400
20. Usakheluri naduri – Usakhelo ........................................... 404
21. Dzveli naduri – Usakhelo .................................................. 407
Samegrelo
22. Ocheshkhvei – Mukhuri .................................................... 411
23. Oqonuri – Jgali ................................................................ 417
24. Odoia – Khobi ................................................................. 420
Svaneti
25. Naduri – Choluri .............................................................. 428
Lyrics of the Songs ............................................................... 431
Performers .......................................................................... 437
4
winaTqma
cnobili qarTveli eTnomusikologis, musikis istorikosisa da xelovnebis damsaxurebuli moRvawis oTar CijavaZis
samecniero interesis sfero metad farTo iyo: qarTuli xalxuri musikis Sekreba, sanoto krebulebisa da leqsikonebis Sedgena,
Zveli qarTuli profesiuli musikis, qarTuli sakravebisa da sakravieri musikis kvleva...
oTar CijavaZes gansakuTrebuli, axlo urTierToba hqonda xalxuri Semoqmedebis saxlTan, dRevandel folkloris
saxelmwifo centrTan. amitomac aRmoCnda folkloris centris arqivSi misi ori naSromi: qarTuli folkloris leqsikoni da
Sromis simRerebi dasavleT saqarTveloSi. qarTuli folkloris leqsikoni 2009 wels gamosca folkloris saxelmwifo centrma
saTauriT _ qarTuli musikaluri folkloris mcire enciklopediuri leqsikoni. folkloris centris specialistebis
monawileobiT (baia asieSvili, nana valiSvili) qarTuli xalxuri simRerisa da sakravebis saxelmwifo muzeumma dabeWda oTar
CijavaZis metad saintereso naSromi sakravebi Zvel saqarTveloSi.
folkloris centris arqivSi 50 weli inaxeboda mecnieris sqeltaniani Sroma _ Sromis simRerebi dasavleT saqarTveloSi –
sanoto krebuli vrceli gamokvleviT. krebulSi Sesulia sxvadasxva sirTulis da Rirebulebis Sromis (naduri) simRerebi
Cawerili dasavleT saqarTvelos kuTxeebSi 60-70 wlis win. am krebulis gamocema araerTxel damdgara dRis wesrigSi, Tumca es
dRemde ver moxerxda mravali mizezebis gamo.
gasuli saukunis 60-70-ian wlebSi audioteqnika namdvilad ar iZleoda xarisxianad Caweris, gaSifvrisaTvis aucilebeli erTi
da imave monakveTis mravalgzis gameorebis, SeCerebis, Seneleba-aCqarebis saSualebas. Sesabamisad, aucilebeli iyo notirebuli
nimuSebis audioCanawerebTan Sedareba, ris gamoc aucilebeli gaxda masalis xelaxla gaSifvra.
sanoto krebulSi 40 naduria Tavmoyrili. samwuxarod, Tbilisis konservatoriis qarTuli xalxuri musikaluri Semoqmedebis
mimarTulebis arqivSi ar aRmoCnda 15 naduris audioversia: aWaruli _ mSvidoba (wyavroka), dilis simRera (wyavroka), jiqura
(wyavroka), sasadilo (wyavroka), Ciora (wyavroka), kalos xelxvavi (wyavroka), naduri (Wvana); imeruli _ naduri (muxura);
leCxumuri _ epoia (zubi), naduri (luxvano), naduri (luxvano); megruli _ Toxnuri (dixazurga), yanis simRera (orjonikiZe),
odoia (qvemo xunwi); svanuri _ naduri (xofuri). Sesabamisad, am krebulSi Cven mier (l.v.) gaSifruli 25 sasimRero nimuSi Sevida
redaqtirebul (b.a.) gamokvlevasa da avtoris winasityvaobasTan erTad. gamocemas Tan erTvis maSindeli musikaluri redaqtoris,
didi qarTveli kompozitoris, aleqsi maWavarianis mokle winaTqma da misive xelrTva.
SesaZloa, momavalSi romelime arqivSi 15 naduris audioCanaweric aRmoCndes da isini axali krebulis saxiT gamoices.
levan veSapiZe
eTnomusikologi
saqarTvelos folkloris saxelmwifo centris
galobis mimarTulebis xelmZRvaneli
5
redaqtorisagan
qarTul xalxur sasimRero SemoqmedebaSi erT-erTi mdidari da mravalferovani Janri Sromis simReraa, romelic yovelTvis amSvenebda da axalisebda qarTveli kacis yofas. SromiTi saqmianobis romeli dargic unda aviRoT, SeuZlebelia usimRerod misi warmodgena. mka, Tibva, xvna, ganiaveba, simindis texa, yurZnis krefa da dawurva, barva... _ yovelTvis xalxuri simReris madliT iyo gasxivosnebuli.
Sromis simRera iseTive mravalferovania, rogoric TviT qarTuli xalxuri sasimRero Semoqmedebis sxva Janrebi da saxeobebi, magram gansakuTrebul yuradRebas imsaxurebs da aRtacebas iwvevs saqarTveloSi gavrcelebuli koleqtiuri Sromis simRerebi, romlebic naduris saxelwodebiTaa cnobili.
amJamad nadis tradicia daviwyebas eZleva da aseve CrdilSi eqceva naduri simRerebic, amitomac saswrafo da aucilebelia maTi Cawera, ukvdavyofa, saTanado krebulebis Sedgena da gamocema.
misasalmebelia oTar CijavaZis krebuli _ Sromis simRerebi dasavleT saqarTveloSi, romelic dasavleT saqarTvelos kuTxeebis, _ aWaris, guriis, imereTis, samegrelos, leCxumisa da svaneTis, _ naduri simRerebis ormoc nimuSs moicavs.
krebulSi Sevida mxolod nawili im didi masalisa, romelic naSromis avtorma moipova saqarTvelos aRniSnul kuTxeebSi oci wlis ganmavlobaSi Catarebuli samecniero eqspediciebis dros.
es masala yuradRebas iqcevs imiTac, rom aq warmodgenilia msoflio musikalur SemoqmedebaSi mravalxmianobis unikaluri nimuSebi: aWaruli da guruli oTxxmiani naduri simRerebi _ qarTveli xalxis niWierebis, inteleqtualuri raobisa da maRalsaSemsruleblo xelovnebis dadastureba.
danarTSi avtori gvacnobs krebulSi Sesuli SesaniSnavi simRerebis SemsrulebelTa vinaobas, rasac didi mniSvneloba aqvs Tanamedroveebisa Tu STamomavlobisaTvis.
naduri simReris Canawerebs win erTvis sakmaod vrceli narkvevi, romelSic avtori damajereblad gadmogvcems nadisaTvis damaxasiaTebel organizebulobas, emociur da sanaxaobriv mxareebs, maT mniSvnelobas, warmarTvis wessa da adgils qarTveli xalxis sameurneo yofaSi. gvacnobs naduri simRerebis, rogorc Janris, saerTo wyobas, aRnagobas, damaxasiaTebel musikalur kanonzomierebebsa da mravaxmianobis Sinagan bunebas.
naSromis mesame TavSi avtori, saTanado mecnieruli analizis safuZvelze, cdilobs, daadginos naduri simRerebis warmoSobis dro da am mxriv misi daskvnebi sakmaod damajerebelia.
oTar CijavaZis naSromi Sromis simRerebi dasavleT saqarTveloSi qarTuli musikaluri folkloristikis mniSvnelovani SenaZenia. moicavs metad saintereso musikalur masalas, dawerilia gamarTuli qarTuli eniT, emyareba savsebiT damajerebel mecnierul kvlevas da, amdenad, didi sargeblobis motana SeuZlia moswavle-axalgazrdobisTvis, specialistebisa da mSobliuri musikaluri xelovnebis gacnobiTa da SeswavliT dainteresebul mkiTxvelTa farTo wrisaTvis.
dasavleT saqarTvelos xalxuri musikaluri Semoqmedebis mravalxmiani formebi, maTi JReradoba, saerTo Tviseba, zogadqarTuli esTetika da gamokveTilad erovnuli xasiaTi mkafiod migvaniSnebs, rom igi saerToa qarTuli mravalxmianobisaTvis _ misi yoveli kuTxisa Tu mxarisaTvis da erovnuli sasimRero saunjis mniSvnelovani nawilia.
aleqsi maWavariani
6
avtorisagan
Sromis simRerebi qarTuli xalxuri sasimRero Semoqmedebis erT-erTi mniSvnelovani Janria. saukuneebs gamoatara qarTvelma
xalxma es SesaniSnavi qmnilebebi da Cvenamde moitana, rogorc eris sulieri gamZleobis, brZolisa da Sromis aramaterialuri
kulturis matiane.
Sromis simRerebi Seiqmna sazogadoebis dabal fenaSi, romelic Sromis procesis mTel simZimes sakuTar mxrebze iwvnevda da
Tanmxlebi simRerebic umetesad am fenis ganwyobisa da saqmianobis amsaxvelia. albaT, misma demokratiulma xasiaTma ganapiroba
isic, rom Zveli qarTuli mwerloba, romelSic metwilad aristokratiuli fena Warbobda, nakleb yuradRebas uTmobda Sromis
simRerebs.
Tamar mefis istorikosi basili ezosmoZRvari wers: `yovelT, pirni erTbaSad mza iyunes, raTa Rirsi rame Tamaris
saqebulobasa sityva aRmoTqvan. yrmani memrowleni ganpebasa Sina ornatTasa Tamaris qebaTa meleqseobdia; erays myofni meebneni,
gina meCangeni Tamaris SesxmaTa musikobdia: frangi da berZenni, zRvasa Sina menaveni, niav-keTilobasa Sina, Tamaris qebasa ityodian~
(qarTlis cxovreba, xelnaweri:301). arCil mefis cnobac mniSvnelovania: `muSaobac kargi znea, zed-mdgomoba da sarqloba, barva,
widnva, xvna da Tesva, mkis da sTvlisa mis-mis droba, kacs Semats da gaaxarebs mosavlis bevri moswroba~ (mefe arCili, 1960:291).
magram arc erTsa da arc meore SemTxvevaSi avtorebi uSualod Sromis simRerebs ar miuTiTeben. am mxriv ufro mniSvnelovania
ioane batoniSvilis kalmasoba, romelSic pirdapir naTqvamia: `mkaSi leqsebi aris erTgvari simReriT~ (batoniSvili ioane,
1944:295):
ierusalims mimavali eubneba beri bersa:
Cemi sulis cxonebasa, aras etyvi geri gersa,
qalo, adi maga xesa, Camoyare broweuli,
erTi meca Camomigde, Sengan ufro moweuli...
ep, op CasarTavad.
magram aq avtori mxolod mkis dros simReriT Sesrulebul teqsts exeba, TviT simReris xasiaTi ki gaurkvevelia _
miTiTebulia, simReris Sesrulebisas SeZaxilebi, _ ep, op, _ CaerTviso.
7
aseve sayuradReboa aleqsandre jambakur-orbelianisa da daviT maCablis cnobebi. narkvevSi _ iverianelebis galoba, simRera
da RiRini _ aleqsandre jambakur-orbeliani adasturebs Semdegi saxis Sromis simRerebs: 1. simRera venaxis muSaobisa, 2. qvevris
garecxvisa, 3. yurZnis dawurvisa, 4. saxlis aSenebisa, 5. miwis xvnisa, 6. miwis dafarcxvisa, 7. yanis momkisa, namglis galesvisa 8. Znis
motanisa 9. kalos lewvisa 10. xvavis ganiavebisa 11. sabaros urmiT wasvla-wamosvlisa~ (ciskari, 1861:Tebervali).
daviT maCabelma qarTuli xalxuri simRerebi saxeobaTa mixedviT daalaga: RiRini, mgosnoba, orovela, anu meurmuli, zari,
xeuri, magram amiT ar kmayofildeba da calkeuli simReris saxelwodebasac aRniSnavs, saxeldobr: Conguri, yurSao, gvibrZane,
javaxuri, TuSuri, gogona, mzeSina, samaia, ferxisa anu ferxuli, muSuri da hopuna, agreTve, mayruli~ (maCabeli, 1864:54). misi
ganmartebiT, `orovela, anu meurmuli, aris uZvelesi simRera miwis moqmedTa, warmodgenili umankosa mamamTavrulis qarTvelTa
cxovrebisa~, xolo urmuli gamoxatavs... uturfessa melodiasa da `iTqmis erTsave xmad~ (iqve: 55).
es cnobebi im mxrivac aris sayuradRebo, rom konkretulad dasaxelebulia zogierTi simReris saxelwodeba.
qarTuli Sromis simRerebi mravalferovania, am mravalferovnebaSi ki gansakuTrebiT sayuradReboa koleqtiur SromasTan
dakavSirebuli nadur simReraTa jgufi. maRalmxatvruli RirebulebebiT gamorCeuli es simRerebi, upiratesad, dasavleT
saqarTveloSia gavrcelebuli, kerZod: aWaraSi, guriaSi, imereTSi, leCxumsa da samegreloSi. nadurebSi SeiniSneba oTxxmianobac
_ uCveulo movlena msoflio xalxTa musikalur praqtikaSi. amitomac savsebiT bunebrivia, rom qarTulma Sromis simRerebma
ucxoel mkvlevarTa yuradReba miiqcies. sakmarisia, gavixsenoT saqveynod cnobili saxelebi: arqanjelo lamberti, zigfrid
nadeli, karl biuxeri, robert laxi, Jak fransua gamba, Jiul murie da sxvebi, romelTac mniSvnelovani roli Seasrules maTi
Seswavlis saqmeSi.
naduri simRerebi saqarTvelos garkveul arealSia gavrcelebuli. rogorc jemal noRaideli aRniSnavs, `nadis mowveva
SeiZleboda simindis, rogorc Tesvis (Toxnis), ise margvlis drosac, xolo Romis _ mxolod Tesvisas. Romis da brinjis margvlis
dros nadi sazaralo iyo da mas arc iwvevdnen. naTesebs sarevela balaxebisagan umTavresad ToxiT ki ar wmendnen, aramedd xeliT;
Toxs mxolod brinjisa da Romis `gaWris~ (gaiSviaTebis) mizniT iyenebdnen.~ (noRaideli, 1967:16-17)
aleqsandr nordmani guruli simReris daxasiaTebisas aRniSnavs: `gurulebis simRera sasiamovnoa da mravalferovani, guruli
simRerebis didi nawili sruldeba sxvadasxva xmisa da gundis mier... miwis damuSavebasTan dakavSirebul simReras naduri ewodeba,
mkis dros Sasasrulebel simReras _ xelxvavi, xolo yurZnis krefis dros Sesasrulebel simReras _ ha, gideli (nordmani,
1838:436). mkis dros Sesasrulebel simRerad xelxvavis dasaxeleba raRac gaugebroba unda iyos.
Sromis saxeobaTa sia SeiZleba gafarTovdes, Tuki gaviTvaliswinebT, rom nads iyeneben, agreTve, simindis rCevis, Romis krefis
(aRebis) da msgavsi procesebis dros. mxedvelobaSia misaRebi isic, rom, marTalia, elesa ar aris yanuri simRera, magram igi
SeiZleba yanaSic Sesruldes.
8
amrigad, Cveni ganxilvis arealSi Semodis simReraTa farTo jgufi, romelic mWidrod ukavSirdeba dasavleT saqarTveloSi
Semonaxul koleqtiuri Sromis calkeul saxeobas da romelTac, zogadad, SeiZleba naduri simRerebi vuwodoT.
winamdebare naSromi umTavresad eyrdnoba dasavleT saqarTvelos sxvadadsxva raionSi, _ cagerSi (1955 da 1971 wlebis ivlisi),
lentexSi (1956 da 1971 wlebis ivlisi), zugdidis (1959 wlis ivlisi), walenjixSi (1959 wlis agvisto), gegeWkorsa da xobSi (1960
wlis ivlisi), maiakovskSi (1961 wlis ivlisi), zestafonSi, Terjolasa da tyibulSi (1962 wlis ivlisi), saCxereSi (1963 wlis ivlisi),
lanCxuTSi (1964 wlis agvisto), CoxataurSi (1965 wlis ivlisi), maxaraZeSi (1966 wlis ivlisi), qedasa da qobuleTSi (1969 wlis
agvisto) da galSi (1970 wlis ivlisi), _ Cveni xelmZRvanelobiT moqmedi eqspediciebis dros mopovebul musikalur masalas.
eqspediciebSi sxvadasxva dros monawileobdnen: saxelmwifo konservatoriis ufrosi pedagogi givi lorTqifaniZe, aspirantebi _
dodo ruxaZe da meri WoRoSvili, xmis Camweri kabinetis teqnikosi _ guram SveliZe; studentebi: luiza abulaZe, vaJa azaraSvili,
daviT balanCivaZe, lina begiSvili, tariel beraZe, naTela biwkinaSvili, jemal busuraSvili, vera gavrilidi, mzia gelaZe,
durmiSxan goderZiSvili, elguja egetaSvili, lali vardanaSvili, izolda zaqaraia, guranda zoiZe, menuli Tofuria, vaJa
kardenaxiSvili, solomon lafauri, naTela lorTqifaniZe, evgeni maWavariani, nato moiswrafiSvili, merab odiSaria, namceca
oragveliZe, ciala papiaSvili, sergo Jvania, vano JRenti, ermaloz sariSvili, medea qelbaqiani, rusudan quTaTelaZe, mzia
RvedaSvili, izolda RonRaZe, aleqsi SaniZe, izolda Cakaberia, liziko CijavaZe, naTela CixlaZe, karlo CuxrukiZe, lia
xugaSvili, manana xuciSvili; Tbilisis saxelmwifo universitetis xelovnebis fakultetis studentebi: nino gvelesiani, mzia
durgliSvili, gia falavandiSvili, meri RvedaSvili da baTumis musikaluri saswavleblis pedagogi guram saRaraZe.
Cven mier Sekrebili simRerebis saerTo raodenoba 950-s aRemateba da Janrobrivadac sakmaod mravalferovania, amitom misi
mTlianad gamoyeneba mizanSeuwonlad miviCnieT. ufro metic: TviT Sromis simRerebis sferoc, winamdebare naSromis ZiriTadi
Temis Sesabamisad, garkveulad SevzRudeT da sul 40 saxasiaTo nimuSiT SemovifargleT, ramac garkveuli daskvnebis gamotanis
saSualeba mogvca.
saTanadod gaviTvaliswineT da gavaanalizeT gansaxilvel sakiTxTan dakavSirebuli samecniero literatura, amasTanave
gaviTvaliswineT Sromis simRerebis arsebuli Canawerebi.
Tuki winamdebare krebuli kidev ufro gaaZlierebs sazodadoebriv interess dasavleT saqarTveloSi arsebuli koleqtiuri
Sromis simRerebis sxvadasxva saxeobis mimarT, Cveni mizani miRweuli iqneba.
dasasrul, Cvens sapatio movaleobad migvaCnia, udidesi madloba gadavuxadoT im Semsruleblebs, romlebmac, TavianTi
uangaro daxmarebiTa da keTilganwyobiT, yovelmxriv xeli Seuwyves eqspediciebis warmatebiT muSaobas, gansakuTrebiT xalxuri
simReris didostatebs _ qamil takiZesa da aw gansvenebul Salva maxaraZes.
9
Tavi pirveli
nadi da misi Tanmxlebi simRerebi
qarTveli eris metad mdidarma da mravalferovanma xalxurma Semoqmedebam Semoinaxa uSualod miwaTmoqmedebasTan, sameurneo
cxovrebasa da Sromis saxvadasxa procesTan dakavSirebuli simRerebi da garToba-TamaSobani. am mxriv gansakuTrebul yuradRebas
iqcevs koleqtiur Sromis simRerebi. koleqtiur Sromas saqarTveloSi xangrZlivi istoria aqvs da mis tradiciul formad nadi
unda miviCnioT. nadis saWiroeba, upirveles yovlisa, Sromis produqtiulobis zrdis moTxovnilebam da koleqtiuri Sromis
Tanmdevma nayofierebam warmoSva. rogorc karl biuxeri aRniSnavs, nadis mowveva `ganpirobebulia, jer erTi, imiT, rom soflis
meurneobaSi periodulad ibadeba garkveuli samuSaos Sesrulebis aucilebloba, xolo, meore mxriv, imiT, rom mravali sasoflo-
sameurneo samuSao metismetad gadaudebelia~ (biuxeri, 1923:227).
Sromis naduri forma gavrcelebulia mTel saqarTveloSi (aRmosavleT saqarTveloSi mamiTadis saxelwodebiT), magram igi
gansakuTrebiT damaxasiaTebelia guriis, aWaris, samegrelos, imereTisa da leCxumisaTvis.
amJamad nadis tradicia miviwyebulia, magram Cvenamde moaRwia nadSi Sesasrulebelma simRerebma _ nadurebma _ da naduri
Sromis calkeulma aRwerilobam, rac saSualebas iZleva misi arsis mTeli sisruliT warmosaCenad da gasarkvevad. SeiZleba iTqvas,
rom cneba naduri aerTianebs dasavleT saqarTveloSi arsebul koleqtiur SromasTan dakavSirebul yvela simReras.
samegreloSi nadis gamoyenebas adasturebs italieli mogzauri arqanjelo lamberti: `is, vinc ukve daTesa yana da Toxnas unda
Seudges, iwvevs mosaxmareblad imaT, romelTac jer Toxnis dro ar dasdgomia. Tavis droze sxvebi amaT moexmarebian. radgan es
didi Sroma saSinel sicxeSi unda aitanos kacma, mis gasaadvileblad iseTi xerxi mougoniaT, rom gegonebaT mTeli sofeli
qeifobso. am xerxs Seadgens sami rame: nadi, simRera da uxvi saWmeli, rasac mamulis patroni iZleva. xSirad nadi Sedgeba
ormocdaaTi da samoci Carazmuli mToxnelisagan. im dros rom gaamxnevos isini, patronic TavSi Caudgeba ToxiT da Toxnis,
rogorc danarCenebi. simRera, romelic mohyveba nads, gamougoniaT marto imitom ki ara, rom es mxiaruli kreba gaamxnevos, aramed
imisTvisac, rom imaT Cqara imuSaon. amisTvis sagangebo simRera aqvT, romlis xmaze Toxnasac ise awyoben, rogorc sakravze cekvas:
ramdenadac simReras aaCqareben, imdenad Toxnasac aaCqareben. amisTvis TavSi dadgeba ori momRerali da iwyebs simReras. am
meTaurebs erTiorad eZleva ulufa imisTvis, rom Toxna daaCqarebinos sxvebs. saWmeli sakmaod uxvi aqvT, radgan igia maTi Sromis
erTaderTi fasi. dRis ganmavlobaSi samjer miutanen saWmels yanaSi. daRamebisas ki patronis saxlSi umzadeben vaxSams, romelic
metad uxvia. am dros yovelsave dards muSaobis Sesaxeb Tavidan iSoreben, SuaRamemdis sxedan da dros atareben WamaSi, smasa da
simReraSi. ra mSvenieri sanaxavia, roca mzis Casvlisas Toxnas gaaTaveben da midian patronis saxlSi, TiTqos erTi droSis
10
jariskacebiao, gaudviaT mxrebze Toxebi da eqvs Tu rva wyebad nel-nela midian, Tan miimRerian da didis ambiT Sedian patronis
ezoSi~ (lamberti, 1938:51-52).
guriaSi arsebul nadis mowvevis Cveulebas aRwers karl biuxeric: `saqarTveloSi Sromis dros nadis Cveuleba farTod aris
gavrcelebuli. sagangebod mowveuli axlo da Sori mezoblebi Tavs erTad iyrian, raTa ufasod Seasrulon saWiro samuSao
imisTvis, vinc isini miiwvia. es Cveulebriv xdeba iseTi samuSaos SemTxvevaSi, rac ar iTmens gaWianurebas, mag: yurZnis krefa, Romis
Tesva, puris Tesva da mka, SeSis Wra da misi gamotana. maspinZeli Tavis stumrebs dReSi orjer umaspinZldeba cxeli saWmliT,
romelic qalebs moaqvT mindorSi sadilad 11 saaTisTvis da nasadilevs _ 3-4 saaTs Soris. mzis CasvlisTanave muSaoba wydeba da
simReriT yvela maspinZlis saxlisaken gaemarTeba, sadac yvela erTad vaxSams Seeqceva. savsebiT cxadia, rom maspinZeli, romelsac
ar surs Tavi Seircxvinos, cdilobs yvelaferi kargad moawyos. Rvinos yvelas cal-calke miarTmeven, magram loToba Zalian
iSviaTia. navaxSmevs menadeni Tavisi ToxebiT an da sxva iaraRiT saxlisaken mieSurebian~ (biuxeri, 1923:197-198).
filipe gogiCaiSvilis naSromze, _ Das Gewerbe in Georgia (xelosnoba saqarTveloSi), _ dayrdnobiT, biuxeri aRniSnavs:
`mindorSi warmoebul samuSaoebs Cveulebriv Tan axlavs simRera: arsebobs gansakuTrebuli samuSaoebi, romelebic mWidrod
ukavSirdeba simReras. maT ricxvs, upirveles yovlisa, miekuTvneba Romis Toxna. mTel dasavleT saqarTveloSi (imereTSi)
upiratesad Roms Tesaven, mas orjer marglian sxvadasxva dros. am Sromas _ daxmarebas _ qarTulad nadi ewodeba, xolo am dros
Sesasrulebel simRerebs naduri. naduri sruldeba Zalian xmamaRla da Zlierad ise, rom simRera Soridanve ismis ...Cveulebriv
iwyeben Zalian nel tempSi _ simReris ritms Tanxvdeba Toxebis dartyma ZalTa Cveulebrivi daZabvis dros. magram, rac ufro meti
dro gadis, miT ufro Cqardeba simRera da masTan erTad TviT Sromis procesic ufro iZabeba da mkvircxldeba. es samuSao sakmaod
damqancvelia, magram simReris dros momuSaveni ar grZnoben daRlilobas. me SevamCnie, rom simReris daboloebisas gacilebiT
ufro swrafad muSaoben, vidre dasawyisSi. ra Tqma unda, aseTi daZabulebis atana didi xnis ganmavlobaSi SeuZlebelia da, rodesac
simReris siswrafe umaRlesia, igi wydeba kidec. Semdeg cotad Tu bevrad xangrZlivi Sesveneba, romlis drosac muSaoben
Cveulebrivi siCqariT an ufro nelac ki, vidre simRera ar daiwyeba Tavidan~ (iqve:198). karl biuxeri isev qarTveli mecnieris
cnobas iyenebs: `saqarTveloSi xSirad berketebisa da sakisrebis daxmarebiT erTi adgilidan meoreze gadaaqvT xis mTliani saxli.
berket-sakisrebis erTdrouli moZraobisa da ZalTa erTiani daZabvis niSnad, momuSaveni (orpirulad. red.) SesZaxeben: e-le-ssaa!
_ a-a-haa!.~ (iqve:199). cxadia, aq igulisxmeba Sromis simRera elesas Sesruleba.
sxvadasxva saukunis avtorTa zemomoyvanili naduri Sromis aRwerilobidan kargad Cans, rom guriasa da samegreloSi
SemorCenili wesebi arsebiTad ar gansxvavdeba erTmaneTisgan da maT erTi mizani aqvT _ urTierTdaxmareba. magram nadis,
koleqtiuri Sromis nacadi formis, mniSvneloba mxolod es ar aris. mas aranakleb mniSvnelovani meore mxare aqvs, romlis Sesaxeb
11
karl biuxeri wers: `is, vinc iwvevs nads, misi daxmareba sinamdvileSi aunazRaureblad ar xdeba, ramdenadac man daxmarebiTve unda
gadauxados TanaSemweebs samagiero da, garda amisa, gamaspinZleba arcTu iafad ujdeba. Tu am Cveulebam gaZlo xalxSi ramdenime
aTaswleulis ganmavlobaSi da ase farTod gavrcelda, es ukve imas adasturebs, rom Sromis amgvari saSualeba ekonomikurad ufro
momgebiania, vidre erTpirovnuli Sroma... sazogadoebrivi Sroma amxnevebs adamians, aRZravs Sejibrebis grZnobas, badebs iumors,
qmnis amaRlebul ganwyobas, aCqarebs saqmes. sagundo mRera iwvevs sazogadoebriobis SegrZnebas~ (iqve:127).
`wminda sameurneo daniSnuleba aqvs nads, romelSiac koleqtiuri Sromis wasaxaliseblad Warbad aris Sesuli simRerisa da
garTobis elementebi... nads sazeimo elferi hqonda. mas Tavisi sakuTari sasimRero repertuari, sanaxaobani da organizaciuli
wyoba gaaCnda. gansakuTrebiT didi mniSvneloba hqonda nadSi simReras, romelic, biuxeris marTebuli azriT, masis maorganizebel
Zalas, momuSaveTa gamxnevebisa da waxalisebis saSualebas warmoadgenda~ (janeliZe, 1948:34). ufro metic: naduri simRera SromiTi
Cvevebis gamomuSavebisa da Sromis procesis maorganizebeli saSualebac iyo.
`yanis dasamuSaveblad SeiZleba nadi arc ki sWiroda guruls, TiTonac moereoda, magram, Tu mgloviare ar iyo guruli, igi
moxaruli iyo, yana simRera-naduriT daemuSavebina, Tugind es nadi da misi gamaspinZleba naSromze metad dasjdomoda. nadi da
naduri simRera muSur-glexuri garToba iyo: mejlisi, glexuri banketi, gazafxulis migebebasTan dakavSirebuli Sromisa da
gamarjvebis himni... nadze ise siamovnebiT midiodnen, rogorc qorwilSi. nadSi dapatiJeba pativiscemad iTvleboda. naduri
simReris zemoqmedeba marto mis mTqmelTa wriT ar ganisazRvreboda. ...yanuris gagoneba (kai yanuri oTx kilometrze ismoda) yvela
mSromels uxaroda, moxucebi momRerlebs locavdnen, moTaRreebi _ maxloblad momuSaveebic _ madlierni iyvnen, radgan im
dRes meti xalisiT muSaobdnen. zogjer erTsa da imave dros mezobelsac nadi hyavda. maSin simRera rigiT iyo _ erTi isvenebda,
meore mReroda, simReras erTimeores gadaabamdnen ara marto moTaRreebi, aramed erTi sofeli meoreze~ (wulaZe, 1939:186).
Tu ra didi mniSvneloba aqvs simReras nadSi, iqidan Cans, rom, jer erTi, `momRerlis erT dRes moxmareba or dRed Rirda,
meore mxriv, nadis ricxvi isazRvreboda momRerlebis mixedviT: erTpir nadSi 8-12 kaci iyo, orpirSi _ 16-24... guruli yanuri
orpiri iyo da rva kaci sWiroda: ori damwyebi (anu mTqmeli), ori gamyivani (gadamZaxebeli) da or-ori bani (Semxmobi).1
mRerodnen yanis Toxnisa (daTesvisa) da margvlis (gabarvis) dros... simRera iwyeba metad neli tempiT, TandaTan muxlidan
muxlze gadadis, muxli mokldeba da mis Sesaferisad simReris tempi viTardeba, cxoveldeba da, roca (simReris dawyebidan 20-30
wuTis Semdeg) is io-io-io-ze gadadis, Toxis dartymac hyveba; amasTan imdenad swrafad, rom Toxs Tvals Zlivs mohkrav, Toxs
1 ramdenadac musikalurma praqtikam daadastura guriaSi oTxxmiani naduri simRerebis arseboba, amitomac zemoT moyvanil cnobas guruli yanuri
simReris Sesaxeb dazusteba dasWirdeba.
12
simReris temps ayolebs rogorc momRerali, ise aramomRerali. yvelam unda daicvas taqti, damrRvevs calke napirs (svrels)
miuCenen, ar gaireven~ (iqve: 182-183). `imeruli naduric rva kacis mier sruldeboda: oTxi banis, ori meore xmis, gamtanisa da ori
wvrilis mier. aWaraSi naduri simReris Sesasruleblad saWiro iyo 12 kaci: erTi mTqmeli – TviTon momRerali, romelic
leqsebiT mReris (igive mTqmeli.red.), ori Semxmobari, erTi gamyivani da oric mobane – banis mTqmeli~ (javaxiSvili, 1938:81).
naduri simReris orpirul Sesrulebas karl biuxeric adasturebs: `momuSaveTa mTeli sazogadoeba SeiZleba warmovidginoT
gayofili or jgufad an gundad. jer erTi jgufi samxmad asrulebs pirvel leqss. amasTanave yoveli xma sxvadasxvagvari SeZaxiliT.
Semdeg pirveli jgufi mReris ramdenadme ufro swrafad meore striqons, axali SeZaxilebiT yoveli xmisaTvis: Semdeg meore jgufi
akeTebs imaves da ase sruldeba yoveli xuTi striqoni. amave dros isini warmosaxaven Sromis procesis siswrafis xuT safexurs.
Semdeg mTeli gundi asrulebs mokle sasimRero strofs, ris Sedegadac yoveli gundis mier sruldeba mxolod SeZaxilebi sami
ormagi striqoni~ (biuxeri, 1923:199).
naduri simRerebis orpiruli Sesruleba Cven xelT arsebuli musikaluri masaliTac dasturdeba, amitomac did interess iwvevs
mixeil Ciqovanis cnoba: `simReris Sesrulebis dros nadi SesaZlebelia or da sam jgufadac daiyos, es damokidebulia momuSaveTa
ricxvze. pirveli gundidan simRera meoreze da mesameze gadadis, bolos ki kvlav pirvels ubrundeba da a.S. Sesrulebis mxriv
gundebs Soris gansxvaveba ar aris, arc ganmeorebiTi saerTo Sesruleba xdeba gurulis msgavsad~ (Ciqovani, 1938:109).
aq mecnieri axasiaTebs leCxumur nadurs, magram romel kuTxesac unda miekuTvnebodes igi, didad sayuradReboa, ramdenadac,
Tuki arsebuli musikaluri masalis mixedviT vimsjelebT, simReris sampiri Sesruleba mxolod mesxeTSia dadasturebuli
kompozitor valerian maRraZis mier, magram ara Sromis, aramed sufrul simRerebSi da baram baramiZis mier TuSur saweso
simRerebSi.
`drois mixedviT sxvadasxva yanurs asrulebdnen: a) dilis, anu xelmosakravi (muSaobis dawyebis), b) werodia (sadilobis,
SuadRis), g) zamlobis, anu Seqceula da d) gaTavebisas _ elesas, romlis bolo savsebiT mogagonebT samxedro ieriSs, gmiruli,
mamakacuri Setevis marSia da gamarjvebis yiJiniT Tavdeba~ (wulaZe, 1939:183).
igive SeiZleba iTqvas aWaris Sesaxeb, sadac dRis ganmavlobaSi Sesasrulebeli naduri simRerebis repertuaric savsebiT
garkveulia. saxeldobr: dilidan sadilobamde sruldeboda _ mSvidoba, dilis simRera, mTas xoxobi afrenila, anu sasadilo;
sadilobidan samxrobamde _ sajavaxura, TeTri qori Wandaraze, qali viyav aznauri, yaranai; samxrobidan saRamomde _ lela,
calabura da sxva.
sergi makalaTias cnobiT, yanis gaToxnisas samegreloSi mRerodnen oYonurs, odoia-dois, xemxvais da sxv. simindis garCevis
dros nadi mReroda oCeSxveis, xvariels da sxva (makalaTia, 1941:186).
13
jemal noRaideli aRwers aWaraSi naduris Sesrulebis wessa da saxeobebs: `dReSi SeiZleboda Sesrulebuliyo sami aTeuli
naduri simRera. amiT nadi ara marto Sromis nayofierebas zrdida, aramed es sanaxaobisa da garTobis sagansac warmoadgenda. nads
xSirad eswrebodnen nadis aramonawilenic _ simReris motrfialeni. nadSi xdeboda Sejibreba, `gadakideba~ xmasa da codnaSi:
mTqmeli mTqmels gadaekideboda, gamyivane _ gamyivanes, Semxmobari _ Semxmobars, bani _ bans da simRera ufro saintereso da
mimzidveli xdeboda.
dilidan miyolebuli saRamomde momRerlebi erTmaneTs ejibrebodnen simReris codnaSi, xolo saRamos, Sromis
damTavrebisas, erTmaneTs Seejibrebodnen _ `gadaekidebodnen~ xolme xmaSi, xmiT daZlevaSi.
dilidanve iwyeboda simRera yanaSi, simReras iwyebda erTi jgufi, is rom daamTavrebda, momReralTa meore jgufi sxva
simReras `aiyvanda~, Semdeg _ mesame da ase mimdinareobda yanaSi naduri simRerebis Sesruleba... xelxvavs rom mRerian, yvela zis,
mxolod mocekvaves SeuZlia bolos adges da Camouaros (noRaideli, 1967:42,86).
zemoxsenebulidan aSkarad Cans, rom nadi ara marto Sromis organizaciis garkveul formas warmoadgenda, aramed garToba-
sanaxaobasac, TamaSsac. Sroma uSualod gadadioda TamaSSi, simRerasa da cekvaSic ki. am mxriv gansakuTrebiT aRsaniSnavia nadurebi
_ oCeSxvei da xelxvavi _ simindis rCevisas da elesa _ mZime tvirTis gadatanisas.
rogorc sofel xevis (Coxatauris raioni. red.) mcxovrebma a.eliaSvilma gadmogvca, sawnaxlisaTvis xes rom gamoitandnen,
elesas asrulebdnen, romelic cekviT mTavrdeboda. rogorc Cans, Sromis simRerebSi cekvas magiuri funqcia unda hqonoda.
magram, rogoric unda yofiliyo, cxadia: nadur Sromas sanaxaobiTi mxare met mimzidvelobas matebda.
sakiTxi Sromisa da garToba-TamaSobis Sesaxeb sakmaod cnobilia da mas didi xnis istoria aqvs. am sakiTxs mravali mkvlevari
Seexo, kerZod: eduard teilori, vilhem vundti, karl biuxeri, karl grosi da sxvani. maTi kvlevis ZiriTadi amocana iyo Sromasa
da TamaSs Soris pirveladobis garkveva. aRniSnulma mkvlevrebma, TavianTi didi cdisa da damsaxurebis miuxedavad, ver SesZles
Rrmad Caswvdomodnen movlenaTa arss. maT aviwydebodaT, rom TamaSi ideologiis ufro maRali safexuria, `ramdenadac saqme
Seexeba ara Semkreblobisa anda nadirobis TviT faqts, aramed Semkreblobisa da nadirobis procesis warmosaxvas realurad
ararsebuli sagnis mimarT~ (gruberi, 1941:10).
giorgi plexanovma, eTnografiuli masalis ganxilvisa da Rrma analizis safuZvelze, naTelyo sazogadoebriv cxovrebaSi
Sromis ufro adreuli warmoSoba TamaSTan SedarebiT: `Cven sruliad verafers ver gavigebT pirvelyofili xelovnebis
istoriidan, Tu ar gavimsWvalebiT im azriT, rom Sroma xelovnebaze adrindelia da adamiani, pirvel yovlisa, movlenebsa da
nivTebs ucqeris utilitaruli TavaliT da mxolod Semdeg xelmZRvanelobs igi Tavis midgomaSi esTetikuri TvalTaxedviT~
14
(plexanovi, 1956:73).2 amitomac savsebiT samarTliania dimitri janeliZis daskvna: `Sromis prodiqtiulobis gadidebis saWiroebam
warmoSva naduri simRerebi: sakuTriv TviT am simRerebis esTetikuri mniSvneloba, maTi gamrTobi Zala Sromis procesSi
gamoiwrTo da momwifda~ (janeliZe, 1948:48).
nadSi gaerTianebuli arian momRerlebi da rigiTi muSebic. rigiT muSebs mxolod samuSaos Sesruleba akisriaT. magram xSirad
isini simReris daboloebaSi monawileoben. nadur simRerebSi naTlad SeigrZnoba Sromis procesis sami ZiriTadi etapi, ramac
Taviseburi gavlena moaxdina TviT simReris formaze. pirveli etapisaTvis damaxasiaTebelia neli tempi. melodia nads erTnairi
grZnobiT ganawyobs, magram ara ritmulad, aramed simReris teqstis Sinaarsisadmi yuradRebis gamaxvilebiT. naduri Sromis
pirveli etapis dasasruls simReraSi Tavs iCens axali ganwyoba. marTalia, meore nawili pirvelisagan gansxvavdeba musikaluradac
da Sromis ritmiTac, magram maT Soris mainc arsebobs organuli kavSiri: Semxmobrebis gabmuli xmovaneba pirveli da meore
nawilebis SemaerTebeli rgolia, vidre mesame nawilamde _ tempis TandaTanobiT momatebamde. meore nawilSi melodia martivdeba,
vinaidan mTeli yuradReba Sromis ritmzea gadatanili. Tuki pirvel nawilSi simZimis centri sityvier teqstze modioda, amjerad
igi TiTqmis mTlianad iTiSeba. meore nawilidan iwyeba Taviseburi Sejibreba gundebsa da calkeul Semsrulebels Soris. simRera
imdenad mZafrdeba, rom TandaTanobiT kargavs intonirebis sizustes da nel-nela maRla iwevs. am dros simaRlis SesanarCuneblad
didi roli ekisrebaT naduri simReris maorganizeblebs _ Semxmobrebs.
mesame nawili musikaluri masaliT savsebiT gansxvavdeba pirveli orisagan, TumcaRa meoris organul gagrZelebas warmoadegns.
igi metismetad swraf tempSi sruldeba da erTian Sromis ferxulSi abams nadis yovel monawiles. simReris dasasruls momRerlebs
uerTdeba yvela muSaki da maTi saerTo yiJina erTdroulad Sromisa da simReris damTavrebas moaswavebs.
rogorc samarTlianad miuTiTebs vladimer axobaZe, `naduri simRerebi xasiaTdeba Sesrulebis TaviseburebiT. formisa da
Sinaarsis mWidro kavSiriT, harmoniis simkveTriT, rTuli polifoniiT da struqturis sirTuliT, rac yalibdeba erTiani
ganviTarebis rTul samnawilian formaSi~ (axobaZe, 1961:32).
nadurs simRerebs marto yanaSi ki ara gzaSic asrulebdnen, rodesac nadi samuSaos moaTavebda da maspinZlisas savaxSmod
naduris simReriT mividoda.
dimitri arayiSvilis TqmiT, `naduri wminda guruli simReraa. auarebeli saxvadasxva formisa. am simReras asruleben Toxnisa
da samuSaodan dabrunebis dros. simRera grZelia da saaTobiT imRereba. didad axalisebs momuSaveebs mZime samuSaoSi~
(arayiSvili, 1927:147).
2
miuxedavad imisa, rom naSromis am nawils etyoba sabWoTa ideologiis kvali, mcire kupiurebiT mas ucvlelad vtovebT (red.).
15
Cven ar veTanxmebiT dimitri arayiSvils mxolod imaSi, rom naduri sufTa guruli simReraa, ramdenadac, rogorc ukve
aRvniSneT, igi gavrcelebulia dasavleT saqarTvelos TiTqmis yovel kuTxeSi.
Sromis simRerebis ganxilvisas mixeil Ciqovani miuTiTebs, rom `warmoSobis mixedviT es simRerebi SeiZleba or ZiriTad
jgufad gavyoT: pirvelia, iseTi simRerebi, romlebSic sityva-leqsi srulebiT ar aris an erTgvar `uSinaarso~ SeZaxilebTan
gvaqvs saqme: amis magaliTia dasavleT saqarTveloSi farTod gavrcelebuli naduri. naduris ZiriTad SeZaxils o bgera
warmoadgens da masTan kavSirSi iqneba Sromis (Toxnis) saerTo ritmi.
meore jgufis simRerebSi erTiandebian iseTebi, romlebSic sityva, anu mokle leqsi da difuzuri amoZaxilebi erTmaneTs
mWidrod ukavSirdeba, magaliTad: guTnuri, samkali, mTibluri, metivuri, safeiqro da a.S. warmoSobis TvalsazrisiT pirveli
jgufi win uswrebs meores. pirvelyofili koleqtiuri Sromis procesSi Tavdapirvelad unda Seqmniliyo swored iseTi simRerebi,
romlebic Sromis ritms ukavSirdeboda da usityvo saerTo SeZaxiliT aRiqmeboda. momdevno safexurze ki amoZaxilebs ukve sityva,
anu mokle leqsi, daemata~ (Ciqovani, 1938:92). mecnieri sxva adgilas azustebs: `naduri simReris ramdenime saxe arsebobs
saqarTvelos sxvadasxva kuTxeSi: naduris uZveles saxes sityvebi ar axlavs~ (iqve:109).
ufro gvian imave sakiTxs kvlav Seexo avtori: `ganviTarebis mixedviT Cveni Sromis leqs-simRerebi SeiZleba or ZiriTad
jgufad gavyoT: pirvelia iseTi simRerebi, romlebSic sityva-leqsi ganuviTarebelia an erTgvar mtkice refrenTan gvaqvs saqme:
amis magaliTia dasavleT saqarTveloSi farTod gavrcelebuli naduri, aRmosavleTSi ki _ mTibluri (Ciqovani, 1952:249).
aq yuradRebas ipyrobs ori ram: pirvel SemTxvevaSi mTibluri simReraTa im jgufs miekuTvneba, romelSic sityva, anu mokle
leqsi da difuzuri amoZaxilebi nadurTan erTad ixsenieba. magram es ar aris mTavari: iseTi ganviTarebuli da maRalmxatvruli
musikaluri nawarmoebisaTvis, rogoric naduria, sityvieri teqsti sazomad ar gamodgeba. sxvaTa Soris jemal noRaidelic
aRniSnavs: `Sromis simRerebi naduris saxiT Cvenamde moRweulia zogjer e.w. usityvo gabmuli SeZaxilebiT, rac damaxasiaTebeli
unda iyos leqsis ganviTarebis arqauli safexurisaTvis. usityvo teqstebi, ufro sworad, CvenTvis gaugebari sityvebi, uxvad aris
gamoyenebuli nadur simRerebSi~ (noRaideli, 1967:11), magram misi daskvnebi Seexeba leqsis da ara simReris ganviTarebas.
simReris sazomad, upirveles yovlisa, musikaluri kanonzomierebani unda gamoviyenoT. amis dasturad gavixsenoT karl
biuxeris azri: `ramdenadac uZveles Sromis simRerebs ar gaaCniaT garkveuli ucvleli teqsti, aramed xdeba misi improvizireba
drosa da viTarebaze damokidebulebiT, amdenad leqss ar SeuZlia iarsebos TavisTavad. piriqiT, upirveles yovlisa,
damoukideblobas iZens uZvelesi Sromis simReris musikaluri elementi, misi melodia~ (biuxeri, 1923:274).
magram es viTareba xom savsebiT cxadia mixeil CiqovanisaTvis, romelic pirdapir miuTiTebs: `qarTuli naduri teqstTan erTad
Seicavs musikalur frazasac, romelSic pirveli adgili, magaliTad, dasavleT saqarTveloSi `usityvo~ kompleqsuri bgeris
16
warmoTqmas uWiravs. orbunis TiToeuli naxevargundi ganuwyvetel gugunad imeorebs am musikalur frazas da simRera mTliani
gamodis maSinac ki, roca korife leqss ar Seuwyobs~ (Ciqovani, 1952:247).
zemoTqmuli imis damadasturebelia, rom naduri simReris siZvelisa da Rirsebis gansasazRvravad yvelaze naklebi mniSvneloba
sityvier teqsts eniWeba da, pirvel rigSi, sul sxva faqtorebis gaTvaliswinebaa saWiro.
Cven saWirod migvaCnia yuradReba gavamaxviloT gansakuTrebuli xasiaTis ramdenime simReraze. pirvel yovlisa, namglurze,
romelic mkis process ukavSirdeba, da amJamad imereTSia SemorCenili.
mkasTan dakavSirebuli simReris arseboba dasavleT saqarTveloSi, kerZod, imereTSi, ar aris SemTxveviTi: jer erTi, imereTis
mraval raionSi, gansakuTrebiT zemo imereTSi, amJamadac moyavT puri, meorec: simindis kultura saqarTveloSi, kerZod dasavleT
saqarTveloSi, gvian, me-17 saukuneSi, Semovida da Secvala manamde arsebuli puris kultura. amaze miuTiTebs ara marto samecniero
Sromebi, aramed xelxvavSi gamoiyenebuli upretenzio leqsebic ki, saxeldobr:
miqelam da gabrielam
kalo gagvixvavriela,
beRlebi puriT gagvivso,
Cxavris RviniT _ sawnaxela da a.S.
magram aq yuradRebas iqcevs sakiTxis meore mxare: namgluri intonaciurad Zalian axlos dgas aRmosavleT saqarTvelos,
kerZod, qarTl-kaxur simRerasTan da arc esaa SemTxveviTi: imereTi, gansakuTrebiT ki misi aRmosavleTi raionebi, istoriulad
yovelTvis mWidrod ukavSirdeboda aRmosavlur qarTul kulturas, ufro metad, qarTls. rogorc qarTlis cxovreba
mogviTxrobs, farnavazis dros qarTlis samefo rva saerisTavosagan Sedgeboda. leonti mrovelis cnobiT, `maSin farnavaz uSiS
iqna yovelTa mterTa misTagan, da mefe iqna yovelsa qarTlsa da egursa zeda da ganamravlna yovelni mKedarni qarTlosanni,
ganawesa erisTavni rvani da spaspeti. erTi gagzavna argveTs (margus) erisTavad da misca mciriT mTiTgan, romel ars lixi, vidre
zRuradmde egrisisa rions zemoT: da amanve farnavaz aRaSena orni cixeni Sorapani da dimna; da gagzavna erTi kaxeTisa erisTavad,
misca aragUTgan vidre hereTamde, romel ars kaxeTi; erTi gagzavna xunanisa erisTavad da misca berdujis mdinaridgan vidre
Tbilisamde da gaCiaTamdis, romel ars gardabani (garbni); erTi gagzavna samSvildes erisTavad da misca skUreTisa mdinariTgan
vidre mTamde, romel ars taSiri (xaSiri) da aboci (goci); erTi gagzavna wundis erisTavad da misca fanvariTgan vidre Tavadmde
mtkurisa, romel ars javaxeTi da kola-artaani; erTi gagzavna oZrKis erisTavad da misca tasiskariTgan vidre arsianamdis, nostis
17
TaviTgan zRuamdis, romel ars samcxe da aWara; erTi gagzavna klarjeTs, misca arsianiTgan zRvamde; da merve quji, erisTaobda
egriss, xolo erTi daadgina spaspetad da misca tfilisiTgan da aragUTgan vidre tasiskaramde (Tasiskaramde) da fanvaradmde,
romel ars Siga qarTli~ (mroveli, 1942:17).
amrigad, dasavleT saqarTveloSi iberiis mefeTa erT administraciul erTeuls warmoadgenda argveTis saerisTavo. rac
Seexeba egriss, mas Zveli qarTuli wyaroebi ar ganixilaven iberiis rigiT saerisTavod. amitomac, rogorc samarTlianad aRniSnavs
giorgi meliqiSvili, `quji farnavazis mokavSire iyo taxtis dauflebisa da azosTan brZolis saqmeSi. farnavazTan igi, albaT,
interesebis erTobliobam miiyvana~ (meliqiSvili, 1955:145).
argveTis saerisTavos gadaqcevas iberiis erT-erT samxedro-administraciul erTeulad udidesi mniSvneloba hqonda,
radganac man xeli Seuwyo amer-imeris mosaxleobis daaxloebas, saqarTvelos aRmosavleTi da dasavleTi mxareebis materialuri
da sulieri kulturis gaerTgvarovnebasa da Serwymas.
amgvar viTarebaSi savsebiT bunebrivad unda miviCnioT kavSiri sasimRero SemoqmedebaSic, rac gamoixateba, erTi mxriv,
intonaciaSi (imereTSi gavrcelebuli simRerebi batonebis nanina, qarTluri nana), meore mxriv, erTsaxelian simRerebSi (Wona).
ra Tqma unda, es garemoeba srulebiT ar gamoricxavs imeruli simReris kavSirs gurulTan da amasTanave mis TavisTavadobas.
simReraTa meore jgufia simindis rCevisas Sesasrulebeli simRerebi, saxeldobr, xelxvavi da oCeSxvei.
xelxvavis musikalur Rirsebebs aRniSnavs zaqaria faliaSvili: `me erTi guruli `xelxvavi~ maqvs Cawerili, romelSic erT
adgilas imisTana moxerxebulad aris Sezavebuli ori sul sxvadasxva xasiaTis Tema, rom naTlad Tvalwin dagidgebaT baxis
`mrCobli fugis~ Temebi da yovel evropiel musikoss aRtacebaSi miiyvans da daarwmunebs, rom qarTveli xalxi didad
daxelovnebuli yofila musikalur xelovnebaSi, rom amisTana rTuli da masTan originaluri simRerebi Seuqmnia~ (faliaSvili,
1908:#150). dimitri arayiSvili yuradRebas amaxvilebs xelxvavis teqstSi naxseneb uxilav Zalaze, romelzec damokidebulia
mosavali: `TviT simRera sakmao simkvircxliT gamoirCeva da xaliss hmatebs momuSaveebs~ (arayiSvili, 1927:147).
ra Tqma unda, es dakvirvebebi sainteresoa, magram amJamad Cven yuradRebas gavamaxvilebT koleqtiur SromasTan dakavSirebuli
simRerebis _ nadurebis _ sxva Janris simRerebTan SesaZlebel teqstobriv kavSirze. ramdenadac `naduri leqs-simRerebis
Tematika mravalferovania. isini SeiZleba davyoT ramdenime Tematur jgufad: sawesCveulebo, sayofacxovrebo, sagmiro,
satrfialo da sxva~ (noRaideli, 1967:11).
cxadia, mxolod sityvieri teqstis Janrobriv mxares ar SeuZlia gansazRvros TviT simReris, rogorc musikaluri nawarmoebis,
Janri. magram zemoT aRniSnul or simReraSi arsebobs gadamwyveti mniSvnelobis faqtori: xelxvavi da oCeSxveic cekviT _
ferxuliT _ bolovdeba, rac maT saweso xasiaTs aniWebs da, Tu gaviTvaliswinebT im uxilav Zalasac, romelzec sityvieri teqsti
18
miuTiTebs, SeiZleba davaskvnaT: am SemTxvevaSi TviT Sromis simReris wiaRSi Tavs iCens saweso funqcia. amitomac savsebiT bunebrivi
da samarTliania Salva aslaniSvilis mosazreba: `Sromis simRera unda ganvixiloT, rogorc:
1. vedreba bunebis stiqiuri Zalebis, agraruli RvTaebis mimarT (ganviTarebis adreul safexurze);
2. daxmarebis saSualeba Sromis procesSi;
3. klasobrivi SemWidroebis saSualeba;
da bolos:
4. mxne ganwyobilebis Seqmnis saSualeba~.
(aslaniSvili, 1954:268).
am garemoebis gaTvaliswinebiT savsebiT logikurad unda miviCnioT Sromis simRerebis cxovrebis yoveldRiuri movlenebisas
Sesrulebac: gasarTobad, dResaswaulebze da TviT RvTismsaxurebis drosac ki (biuxeri, 1923:268).
bolos ramdenime sityva elesas Sesaxeb. rogorc vnaxeT, elesa sruldeboda sxvadasxva saxis mZime samuSaos dros, kerZod:
saxlis erTi adgilidan meoreze gadatanisas, naosnobisas, sawnaxlis gamotnisas, mZime tvirTis awevisas da sxva. elesas
Sesrulebisas, `simReris damwyebi, mTqmeli, saqmis winamZRoli gaxldaT. tvirTis gadamtani _ yvela monawile. winamZRoli
gansakuTrebiT yuradRebiT unda yofiliyo, raTa araferi gamohparoda, radgan is marto ki ar iyo, aramed sardlobda simReriT:
brZanebiT, xmis awev-daweviT, SeZaxiliT Tu gadaZaxiliT yvelas ukarnaxebda, rodis gadaedgaT nabiji, rodis waRunuliyvnen, anda
welSi gamarTuliyvnen. aq sWirdebodaT namdvili koleqtiuri erTsulovneba da sifrTxile, winaaRmdeg SemTxvevaSi erT mcdar
nabijs SeeZlo gamoewvia kldeze gadaCexa an sxva ram ubedureba. sanam tvirTi saxifaTo adgilas iyo, manamde elesa erTpiri iyo.
erTi xelmZRvanelobda, magram, roca tvirTs samSvidoboze gaitandnen, maSin orpiri iyo da ufro mxiarulad da cocxlad
iTqmoda~ (wulaZe, 1939:#3).
`aq SeuZlebelia calkeuli momuSavis mier Sesrulebuli samuSao gamoyofil iqnas saerTo saqmisgan. Tu ki saqme moiTxovs
adamianTa garkveuli ricxvis samuSao ZalTa gaerTianebas, romelnic erTdroulad da erTsaxovnad moqmedeben, maSin Sromis taqts
maT mxari unda dauWiron rogrc sameurneo, aseve teqnikuri mosazrebis gamo~ (biuxeri, 1923:41. Tavi III).
simRera elesa, _ mZime samuSaos Sesrulebis procesSi koleqtiuri Sromis maorganizebeli saSualeba, _ amJamad mindvris
samuSaoebis drosac imRereba da, amrigad, naduri simRerebis rolSi gvevlineba, Tumca Tavisi warmoSobiTa da socialuri
bunebiT mkveTrad gamoirCeva maTgan, ris Sesaxebac qvemoT visaubrebT.
19
dasavleT saqarTveloSi gavrcelebuli naduri siRerebis didi nawili samxmiania. magram vxvdebiT or da oTxxmian simRerebsac.
orxmiani Sromis simRerebi umetesad SemorCenilia zemo aWaraSi, samegreloSi da miekuTvneba vaJTa da qalTa saSemsruleblo
sferos (sasoflo-sameurneo samuSaoebs _ mamakacTa Sesruleba, xelsaqmes – qalebisa).
vidre uSualod orxmian Sromis simRerebs SevexebodeT, saWirod migvaCnia ali msxalaZis mosazreba gaviTvaliswinoT. aWaris
saojaxo-sawesCveulebo poeziaSi ali msxalaZe exeba aWaruli mayrulebis orxmianobis mizezs da ase xsnis mas: `aWaruli saqorwilo
simRerebi, gansakuTrebiT kuTxis mTian nawilSi, orxmiania. bunebrivia daisvas kiTxva: es orxmianoba qarTuli simReris im etapis
amsaxvelia, roca qarTul musikaSi jer kidev ar iyo gaCenili samxamianoba, Tu raime sxva mizezTan gvaqvs saqme? cxadia, am kiTxvaze
pasuxis gacema moiTxovs SedarebiT ufro sruli muSaobis Catarebas, aWaruli xalxuri vokaluri da instrumentuli musikis
Janrobriv Seswavlas da Sedegebis Sedarebas saqarTvelos mTianeTis im kuTxeTa simRerasTan, romelSic orxmiani nimuSebi bolo
dromde SemogvrCa uZvelesi saxiT (TuSeTi, xevi, fSav-xevsureTi). aqedan gamomdinare, im zogierT daskvnas, romelic Cven xelT
arsebul masalas emyareba, varaudis xasiaTi eqneba~ (msxalaZe, 1969:83-84).
mkvlevris azriT, mayrulebi orxmad imitom sruldeba, rom wvrilis Sesruleba siarulis dros Znelia: `marTlac-da gzaSi ara
marto moZaxilis Tqma, aramed saerTod simRera garkveulad Znelia. amitom aris, rom mayruls siarulSi iSviaTad mRerian~
(iqve:84). sabolood avtori im daskvnamde midis, rom `aWaraSi arsebuli mayruli da sufruli simRerebi adre samxmiani iyo,
magram, rogorc Cans, gansakuTrebiT zemo aWaraSi, TandaTan Camoyalibda tradicia am simReraTa orxmad Sesrulebisa. erTi ram
cxadia: qarTuli musikis orxmianobis arqaul nimuSebad isini ar gamodgeba" (iqve:87).
mTeli es msjeloba Cven aradamakmayofileblad migvaCnia. jer erTi, Tuki `aWaraSi arsebuli mayruli da sufruli simRerebi
adre samxmianebi iyo", ram gamoiwvia maTi daknineba? _ gana adre ufro advili iyo siarulis dros simReris Sesruleba, vidre
amJamad. anda iqneb am SemTxvevaSic ZalaSia is mizezebi, rogoric mesxuri sasimRero Semoqmedebis mimarT _ TurqTa batonoba?
magram es rom ase yofiliyo, gana SesaZlebeli iqneboda aWaras SeenarCunebina mravaxmianobis SesaniSnavi margalitebi xulodan
moyolebuli qobuleTamde? meorec: Tu siarulis dros samxmiani mayrulis Sesruleba Znelia, ratom sruldeba isini siarulisas
saqarTvelos sxva kuTxeebSi, kerZod: guriaSi, samegreloSi, raWaSi, leCxumSi, qarTlSi, kaxeTsa da qvemo aWaraSi? ufro metic:
TviT aWaraSic siarulis dros iseTi sakmaod gavrcelebuli samxmiani simRerac sruldeba, rogoricaa mgzavruli. garda amisa
orxmiani mayrulebi SemorCenilia imereTSic da, sazogadod, zeda xmis gamoyenebas ar saWiroebs. rac Seexeba avtoris mier
dasaxelebul TuSur, moxeursa da fSav-xevsurul orxmian simRerebs, isini xom ganviTarebis sul sxva kanonzomierebebs eyrdnoba
da ganviTarebis sakuTari gza aqvs.
20
davuSvaT, rom mayruli simRerebis samxmad Sesruleba siarulis dros marTlac Znelia. maSin ra unda iTqvas Sromis orxmiani
simRerebis Sesaxeb, romlebic siarulis dros ar sruldeba, magram savsebiT logikuri, dasrulebuli saxe aqvs. rogorc Cans,
orxmiani mayrulebi, rogorc orxmiani nadurebi, xalxuri musikaluri azrovnebis ganviTarebis garkveul safexurs gamoxatavs.
ganvixiloT ramdenime magaliTi (SemovifarglebiT mxolod vaJTa nadurebiT):
Toxnuri (dixazurga). simRera agebulia varirebuli kupletis principze. melodia sacekvao xasiaTisa, bani _ ostinaturi,
simRera _ orbuni. boloSi orive gundi erTiandeba.
yanuri (woniarisi) _ orbuni simReraa, melodia _ sakmaod ganviTarebuli. bani dasawyisSi nakleb moZravia,
Semdeg ostinatur melodiur saqcevs asrulebs, ris gamoc simRera sacekvao xasiaTs iZens.
21
orive simRera sakmaod dasrulebulia da Tavisi mxatvruli RirsebebiT arafriT Camouvardeba dasavleT saqarTvelos samxmian
simRerebs. rac Seexeba am ukanasknelT, dasavleT saqarTveloSi isini ZiriTadad emyareba mravalxmianobis erT-erT saxeobas _
linearuls. am SemTxvevaSi bani sakmaod moZravia da damoukidebeli melodiuri saxe aqvs. magram gurul da aWarul Sromis
simRerebSi arsebobs samxmiani simRerebi gabmuli baniT.
jemal noRaidelis TqmiT, `aWarasa da guriaSi yvela nadur simReras bani ar axlavs. maSasadame, gvaqvs simRerebi ubano da
baniani. roca nadur simReras bani ar axlavs, maSin igi samxmiania. monawileobs xmebi _ mTqmeli, gamyivane da Semxmobari~
(noRaideli, 1940:15).
jiquras ciklis simRerebis ganxilvisas, aslan inaiSvili, jemal noRaideli da grigol CxikvaZe aRniSnaven, rom jiqura
SeiZleba iyos gadaqceuli, anu oTxxmiani, romelSic bani ukve ara mesame, aramed meoTxe xmad gvevlineba, da pirdapiri, anu
samxmiani _ bans am SemTxvevaSi Cveulebriv mesame xma asrulebs~ (inaiSvili, noRaideli, CxikvaZe, 1961:11).
igive SeiZleba iTqvas sxva naduri simRerebis Sesaxebac.
zemoTqmulidan Cndeba azri, rom dasavleT saqarTveloSi arsebobs ori tipis samxmiani Sromis simRera: pirveli,
romlisTvisac damaxasiaTebelia maRali bani _ Semxmobaris saxiT, meore _ Tanmxlebi dabali baniT.
pirveli jgufis simRerebi ukavSirdeba oTxxmian nadurebs. meore jgufis musikaluri kanonzomierebebi sakmaod cnobilia,
amitomac maTi calke ganxilva aucilebeli ar aris. oTxxmian nadur simRerebs ki calke SevexebiT.
Tavi meore
oTxxmiani naduri simRerebi
oTxxmiani naduri simRerebis arsebobis faqti jer kidev 30-iani wlebidanaa cnobili. 1938 wels ivane javaxiSvili daeyrdno
jemal noRaidelis cnobebs da Tavis kapitalur SromaSi qarTuli musikis istoriis ZiriTadi sakiTxebi aRniSna: `saerTod aWara
da, kerZod qobuleTis raioni, ganTqmulia naduri simRerebiT. naduri simRerisaTvis ki saWiroa 12, ukidures SemTxvevaSi _ 8
kaci. nadurisaTvis saWiroa: 1 mTqmeli, TviTon momRerali, romelic leqsebiT mReris, 2 Semxmobari, 1 gamyivane da oric mobane,
banis mTqmeli. simRera gadabmulia, aq momRerali iwyebs simReras, amitom mas mTqmeli ewodeba. Semdeg mas gamyivane mihyveba da
abolovebs Semxmobrebi, xolo simReris dros Siga-da-Sig saWiroa bani. ase rom, nadurSi erT mxareze saWiroa: 1 momRerali _
mTqmeli, 1 gamyivane. 2 Semxmobari da 2 banis mTqmeli~ (javaxiSvili, 1938:81).
22
1940 wels aWaris xalxur sityvierebis meore wignSi jemal noRaideli miuTiTebda: `guriasa da aWaraSi naduri simRerebi
oTxxmiania da gamoiyeneba xmebi: 1 mTqmeli, anu momRerali, 2 gamyivane, 3 Semxmobari, 4 bani. misive dakvirvebiT, aWarasa da guriaSi
yvela nadur simReras bani ar axlavs. e.i. gvaqvs simRerebi ubano da baniani. roca nadur simReras bani ar axlavs, maSin igi
samxmiania. monawileobs xmebi: mTqmeli, gamyivane, Semxmobari~ (noRaideli, 1940:28).
samwuxarod, mxolod 20 wlis Semdeg gaxda SesaZlebeli aRniSnuli simRerebis Cawera, im dros, rodesac nadurebis mravali
SesaniSnavi mcodne da Semsrulebeli ukve cocxali aRar iyo. miuxedavad amisa, guriasa da aWaraSi mainc moxerxda garkveuli
raodenobiT oTxxmiani naduri simRerebis dafiqsireba: 1957-1958 wlebSi grigol CxikvaZisa da vladimer axobaZis, xolo 1964-1969
wlebSi _ Cven mier.
mopovebuli masala savsebiT sakmarisia imisaTvis, rom mkvlevars naTeli warmodgena Seeqmnas qarTuli xalxuri sasimRero
xelovnebis am SesaniSnavi Janris Sesaxeb, miT umetes, roca samecniero wreebSi mas farTo gamoxmaureba mohyva. Cven SevecdebiT,
erTi mxriv, arsebuli Sexedulebebis, meore mxriv, musikaluri masalis analizis safuZvelze garkveul daskvnamde mivideT.
oTxxmiani nadurebis Semadgenel xmaTa saxelebia: wvrili, anu gamyivani; mTqmeli, anu damwyebi; Semxmobari da bani. maRal xmaze
msjelobisas vladimer axobaZe aRniSnavs: `xalxur simRerebSi arsebulma pirveli xmis melodiurma qcevebma da xmaTa saxelebma im
daskvnamde migviyvana, rom wvrili, krimanWuli da gamyivani erTsa da imaves ar unda warmoadgendes, TviTeuli maTganis melodias
individualuri damaxasiaTebeli niSnebi aqvs da isini gamoiyeneba sxvadasxva xasiaTis simReraSi. aris simRerebi, romlebSic
gamyivanisaTvis damaxasiaTebeli melodiuri qcevebi unda sruldebodes, aseve aris simRerebi, romlebSic mxolod
krimanWuliseburi melodiuri qcevebia saWiro, magram aRmoCnda iseTi simRerebi, romlebSic sxvadasxva dros saWiroa, rogorc
pirveli xma, aseve krimanWuli an gamyivani. garda amisa, aWarasa da guriaSi uamravi simReraa, romlebSic sruliad ar aris saWiro
arc gamyivani da arc krimanWuli. magaliTad, guriaSi cnobilia, rom ganTqmuli momRerali babiloZe ubadlo gamyivani iyo. amave
dros, igi arasdros krimanWuls ar ityoda. aseve cnobili iyvnen mokrimanWuleni, romlebic gamyivans ver ityodnen. rogorc
irkveva, gansxvaveba maT melodiebSi imdenad didi yofila, rom aucilebeli Seqmnila momReralTa garkveuli specializacia. garda
amisa, irkveva, rom, rogorc gamyivani, iseve krimanWuli, umetesad garkveuli tembris da ornamentuli figuraciis Semqmneli
xmebia~ (axobaZe, 1961:16).
rogorc Cans, avtori mkveTrad asxvavebs saerTod pirvel xmas, krimanWulsa da gamyivans. amitomac savsebiT bunebrivia
gavarkvioT, saxeldobr, raSi gamoixateba es gansxvaveba.
saerTod, pirveli xmis, anu wvrilis, Sesaxeb msjelobisas avtori aRniSnavs: `pirveli xmis melodia uaxloes kavSirSia rogorc
moZaxilTan, aseve banTan, rasac adgili ara aqvs im SemTxvevaSi, rodesac pirveli xmis magier CaerTvis krimanWuli an gamyivani. am
23
SemTxvevaSi krimanWuli an gamyivani erTi oqtaviT scildeba moZaxilis melodias da metad maRal registrSi Seqmnili ornamentuli
figuraciiT simReraSi garkveuli xasiaTs qmnis... gamyivanisaTvis damaxasiaTebelia metad maRal registrSi erT an ramdenime notze
ritmulad mravalferovani figuraciebis Sesruleba. mravalgzis ganmeorebis Semdeg melodia intonaciurad eSveba qvemoT da qmnis
dasrulebul melodiur xazs. gamyivanisaTvis damaxasiaTebeli melodiuri nagebobani zogjer bevrad ar gansxvavdeba saerTod
pirveli xmis melodiisagan~ (iqve:16-17).
Cvenis azriT, aq erTgvari Seusabamobaa: Tuki gamyivanisTvis damaxasiaTebeli melodiuri nagebobebi bevrad ar gansxvavdeba
saerTod pirveli xmis melodiisagan, maSin ra ufleba gvaqvs vamtkicoT, rom pirveli xmis melodia uaxloes kavSirSia rogorc
moZaxilTan, aseve banTan, rasac adgili ara aqvs im SemTxvevaSi, rodesac pirveli xmis magier CaerTvis krimanWuli an gamyivani.
gamyivani saerTod mWidrod ukavSirdeba simReris danarCen xmebs, Tu savsebiT damoukidebelia? _ ase dgas sakiTxi. SeuZlebelia,
rom igi xasiaTs icvlides yovelgvari kanonzomierebis gareSe. es azri, albaT, naTelia avtorisaTvis, romelic aRiarebs: `Tu
krimanWuli warmoadgens melodiuri ornamentis garkveul formas, romelic Tavisuflad SeiZleba erTi simReridan gadatanil
iqnas meoreSi an simReraSi erTi varianti Secvalos meoreTi, amgvar Tvisebebs moklebulia gamyivani, radgan gamyivanis melodia
mWidro kavSirSia simReris intonaciur sistemasTan~ (iqve:17).
Cven savsebiT bunebrivad migvaCnia, rom gamyivanis melodia mWidro kavSirSia simReris intonaciur sistemasTan, magram, nuTu
igi mxolod amiT gansxvavdeba krimanWulisagan, nuTu krimanWuli mTlad mowyvetilia simReris intonaciur sistemas?
avtorisaTvis es rom asea, Semdegi mosazrebidanac Cans: `krimanWulis gamoyeneba simRerebSi eqvemdebareba garkveul
kanonzomierebas. simReraSi krimanWuli CaerTvis mxolod maSin, rodesac dabali xma _ bani _ ganviTarebuli melodiis
Semsrulebeli xdeba. e.i. bani kargavs harmoniuli fuZis funqcias, xolo krimanWuli simReraSi zemodan aRadgens Tavisebur
ornamentul figuraciebSi simReris harmoniul fuZes. amrigad, simReris harmoniuli fuZis erTi xmidan meoreSi gadatana,
gansakuTrebiT ganapira xmebis funqciebis Secvla, vfiqrobT, qarTuli xalxuri polifoniis erT-erT Taviseburebas warmoadgens~.
meore mxriv: `Tu bani da Semxmobari simReris harmoniul fuZes axmovanebs kilos primiTa da kvintiT, xolo es bgerebi sayrdeni
bgerebia krimanWulisaTvis, maSin bunebrivad krimanWuli simReris harmoniuli fuZis Tavisebur ornamentul danamats
warmoadgens~ (axobaZe, 1961:23). avtori iqve aRniSnavs: krimanWuli ori harmoniuli fuZis ornamentul imitacias warmoadgenso. Tu
es varaudi sworia, `gurul da aWarul xalxur simRerebSi unda warmovidginoT sami tipis harmoniuli fuZe _ dabali banis,
maRali banis da krimanWulis saxiT~ (iqve:23). amdenad, savsebiT cxadia, rom krimanWuli organulad dakavSirebulia simReris mTel
nagebobasTan da imis mtkiceba, TiTqos, _ krimanWulis aRniSnuli variantebi SeiZleba gadatanili iqnas erTi simReridan meoreSi
an erTi varianti Secvlil iqnas meoreTi~, _ damajereblobas savsebiT moklebulia. kidev erTi sayuradRebo ram: `rogorc
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aWaruli, aseve guruli xalxuri simRerebis Seswavlam migviyvana im daskvnamde, rom gamyivanis melodia ufro tipur formebSi
gvevlineba nadurebSi~ (iqve:17).
aris SemTxvevebi, rodesac krimanWulisa da gamyivanisaTvis damaxasiaTebeli melodiuri qcevebi erT mTlianobad Seirwymeba.
magaliTad: aWarul nadurSi, romelSic mxolod gamyivani monawileobs, rogorc maRali xmis Semsrulebeli, gamyivanisaTvis
damaxasiaTebel intonaciebTan erTad xSirad SevxvdebiT krimanWulis intonaciebs. aseT SemTxvevaSi (ansamblebsa Tu gundebSi) am
ori tipis saxasiaTo melodias ori momRerlis nacvlad erTi asrulebs. `miuxedavad am ori xmis damaxasiTebeli melodiuri
qcevebis erTmaneTSi Serevisa, Cven mainc vasxvavebT krimanWulisa da gamyivanisaTvis damaxasiaTebel niSnebs da amitomac maT cal-
calke ganvixilavT. krimanWulis da gamyivanisaTvis damaxasiaTebli melodiuri qcevebis SeerTeba erT xmaSi calkeul
SemsrulebelTa maRal musikalur niWze metyvelebs~ (iqve:17-18).
Turme SesaZlebeli yofila gamyivanisa da krimanWulisaTvis damaxasiaTebeli intonaciebis erTi momRerlis mier Sesruleba.
arada cota adre avtori kategoriulad amtkicebda, rom ganTqmuli momRerali babiloZe ubadlo gamyivani iyo, magram igi
arasdros krimanWuls ar ityoda. aseve cnobili iyvnen mokrimanWuleni, romlebic gamyivans ver ityodnen. rogorc irkveva,
gansxvaveba maT melodiebSi imdenad didi yofila, rom aucilebeli Seqmnila momReralTa garkveuli specializacia. aq erTgvari
gaugebrobaa: asea Tu ise, yvelaze maRal xmas, wvrils, Tavisi garkveuli funqcia gaaCnia da, ra Tqma unda, savsebiT SesaZlebelia,
mis melodiur xazSi sxvadasxva saxis intonaciam iCinon Tavi nawarmoebis ideuri Canafiqris Sasabamisad.
magram am sakiTxs meore mxarec aqvs. vgulisxmobT vladimer axobaZis zemoT moyvanil mosazrebas: rogorc aWaruli, aseve
guruli xalxuri simRerebis Seswavlam migviyvana im daskvnamde, rom gamyivanis melodia ufro tipur formebSi gvevlineba
nadurebSi, rasac Cven savsebiT viziarebT aWaruli nadurebis mimarTac. ufro metic: ara marto gamyivanis melodia ufro tipiur
formebs iRebs nadurebSi, aramed TviT gamyivani tipobrivia aWaruli naduri simRerebisaTvis.
Tuki amJamad arsebul musikalur masalas gadavxedavT, SevniSnavT, rom, erT SemTxvevaSi (grigol CxikvaZisa da vladimer
axobaZis Canawerebi), gamoiyeneba krimanWuli, meoreSi (Cveni Canawerebi) savsebiT gamoricxulia krimanWuli da iTqmeba mxolod
gamyivani. es, ra Tqma unda, ar SeiZleba aixsnas SemsrulebelTa SemoqmedebiTi an saxmo SesaZleblobebiT. magaliTad, sofel
wyavrokis momRerlebi, romelTaganac CaviwereT aWaruli naduri simRerebi, Tanabari siZlieriT asrulebdnen rogorc
krimanWulian, ise ukrimanWulo simRerebs. magram, savsebiT marTebulad da kanonzomierad, saWirod ar miaCniaT nadur simRerebSi
krimanWulis gamoyeneba. krimanWulis iyeneben aWaris erTaderT raionSi _ qobuleTSi, romelic gurias esazRvreba da,
figurulad rom vTqvaT, SemoqmedebiT xarks ixdis guruli simReris winaSe, miT umetes, krimanWuliani oTxxmiani nadurebi
gavrcelebulia guriis yvela kuTxeSi.
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gamyivani asrulebs metad Tavisebur melodiur figuraciebs, romlebic organulad eqsoveba meore xmis ZiriTad melodias,
gamyivanisaTvis damaxasiaTebelia Semdegi saxis melodiuri saqcevebi:
gurul nadur simRerebSi aSkarad gabatonebulia krimanWuli, magram igi simReris meqanikuri danamati ki ar aris, aramed TviT
simReris intonaciur bunebas emyareba. krimanWulisTvis damaxasiaTebeli saqcevebia:
26
oTxmiani naduri simReris meore xmas mTqmeli, anu damwyebi ewodeba. savsebiT samarTlianad miuTiTeben aslan inaiSvili, jemal
noRaideli da grigol CxikvaZe, rom `tradiciulad nadurSi Semaval yovel simReras iwyebs mTqmeli, anu damwyebi. masve mihyavs
ZiriTadi melodia da igivea simReris leqsis Sinaarsis gadmomcemi. danarCeni sami xma sxvadasxva marcvalze, SeZaxilze an calkeul
xmovan asoze mReris. amgvarad, nadurebSi mTavaria meore xma, romelsac Tavisi funqciis mixedviT, xalxma sami sxvadasxva saxeli
uwoda: damwyebi, radgan simReras iwyebs, mTqmeli, imitom rom sityvier teqsts es xma mogviTxrobs, da momRerali, rogorc
simReris mTavari melodiis Semsrulebeli~ (inaiSvili, noRaideli, CxikvaZe, 1961:11)
sagulisxmoa, rom valerian axobaZe meore xmas moZaxils uwodebs: `rogorc, saerTod, qarTul xalxur simRerebSi, iseve,
kerZod, nadurebSi, mTavari da wamyvani roli ekisreba meore xmas, romelic cnobilia momZaxneli an moZaxilis saxelwodebiT.
moZaxili es is erTaderTi xmaa, romelsac, agreTve, dakisrebuli aqvs teqstis Tqma, aqedan ki mas zogjer mTqmelsac eZaxian~
(axobaZe, 1961:14). avtori imowmebs ivane javaxiSvilis mosazrebas: `raki Cveulebriv swored momZaxneli ambobs xolme sityvebs da
simReris sityvebi yovelTvis leqsad aris gamoTqmuli, amitom, safiqrebelia, meleqse, igive momZaxneli, unda iyos. pirveli
saxeli meleqse am xmis momRerlis movaleobis mxolod im Taviseburebebis gamomJRavnebelia, romliTac is mRerisas sityvebs,
leqsebsac ambobs, im dros, rodesac gamyivani da bani usityvod mRerian~ (javaxiSvili, 1938:83). `zigfrid nadels SeumCnevia, _
ganagrZobs avtori, _ rom, Tumca pirvel xmas qarTulad damwyebi, xolo meores moZaxili ewodeba, magram qarTul xalxur
simRerebSi, umetes SemTxvevaSi, pirveli ki ara, meore xmaa simReris damwyebica da hangis mTavari mTqmelic~ (iqve:90). `simReris
meore xmas moZaxili ewodeba, mis Semsrulebels _ momZaxneli. momZaxnels nadur simRerebSi simReris moTavesac eZaxiano, _
daaskvnis avtori (axobaZe, 1961:15).
zemoT moyvanili azri naklebdamajerebelia. qarTuli xalxuri simReris sayovelTaod cnobil da dadgenil xmaTa saxelebad
miCneulia: Tqma, moZaxili da bani, am xmaTa Semsruleblad ki _ mTqmeli, momZaxneli da bani. es saxelwodebebi aSkarad miuTiTebs
simReraSi Semsruleblis funqciaze: mTqmelis movaleobaa sityvebisa da leqsebis Sesruleba da, vinaidan sityvebis Semsrulebeli
xma iwyebs umetesad simReras, mas damwyebic ewodeba. momZaxneli damokidebuli mniSvnelobisaa, amitom mTqmels misdevs _ mas
mosZaxis. rac Seexeba aRniSnul xmaTa rigs, aq erTgvari sicxadis Setanaa saWiro, vinaidan sruliad umarTebuloa: `...Tumca pirvel
xmas qarTulad damwyebi, xolo meores moZaxili ewodeba, magram qarTul xalxur simRerebSi, umetes SemTxvevaSi, pirveli ki ara,
aramed meore xmaa simReris damwyebica da hangis mTavari mTqmelic~ (nadeli, 1933:81). damwyebi SeiZleba iyos, rogorc yvelaze
maRali xma, aseve saSualo da dabali xmac ki, magram es ar niSnavs, aRniSnulma xmebma TavianTi adgili Seicvalos simReraSi.
zigfrid nadelis mosazreba agebulia xalxur cnobaze: im xmas, romelic simReras iwyebs, xalxi pirvel xmas uwodebs, riTac
miuTiTebs xmaTa rigobiT mimdevrobaze simReris Sesrulebisas da ara maT ganlagebaze TviT simReraSi. aWarul da gurul nadur
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simRerebSi ki damwyebad yovelTvis simaRlis mixedviT meore xma gvevlineba da teqstsac is asrulebs, ris gamoc igi mTqmelia da
ara momZaxneli. amrigad, meore xma, mTqmeli, maorganizebeli xmaa, romelsac ekisreba simReris dawyeba, sityvieri teqstis
Sesruleba, Sromisa da simReris ritmis dacva, muxlis Semobruneba da axali musikaluri masalis miwodeba.
mesame xma, Semxmobari, jemal noRaidelis samarTliani miTiTebiT, rogorc damoukidebeli xma, gamoiyeneba mxolod Sromis
simRerebSi: `Sexmobas wamyvan rols akuTvneben nadur simRerebSi: simRera rom gamruddes, Sexmobam unda gamoasworos, simRera
rom tonalobiT zeviT aiwios, Sexmobam unda daadablos da a.S. (noRaideli, 1967:29).
Semxmobris, melodiurad yvelaze Semofargluli xmis, Sesaxeb (gansakuTrebiT gurul nadurebSi) savsebiT samarTliania sami
avtoris gancxadeba: `mas axasiaTebs umoZraoba da warmoadgens, ZiriTadad, gabmul bgeras, gansakuTrebiT pirvel samxmian
monakveTSi, romelSic Semxmobari ara melodiuri, aramed harmoniuli funqciis matarebelia~ (inaiSvili, noRaideli, CxikvaZe,
1961:11). magram imaves ver vityviT aWaruli nadurebze, romlebSic Zalian xSirad Semxmobari garkveul melodiur saqcevebs
asrulebs. Tuki gaviTvaliswinebT, rom oTxxmiani naduri simRerebi Sedgeba oTxxmiani da samxmiani epizodebisagan, samxmian
epizodebSi Semxmobari asrulebs banis funqcias. samarTlianad aRniSnavs vladimer axobaZe: `Semxmobaris partia ara marto
gabmuli bgeraa, romelic marTlac did manZilzea nadur simRerebSi mocemuli, aramed, zog SemTxvevaSi, Camoyalibebul melodiur
qsovils warmoadgens... im nadurebSi, romlebSic daculia mxolod samxmianoba, Semxmobrebi asruleben yvelaze dabal, rigiT
mesame xmis partias da Tavisi funqciiT simReris harmoniuli fuZis ganmsazRvreli rCebian~ (axobaZe, 1961:19).
Semxmobari Tavisi arsiT mamakacTa maRal xmaTa rigs miekuTvneba, rogorc mTqmeli, aseve banic yovelTvis Semxmobarze dabla
xmovanebs:
bani yvelaze dabali xmaa, Tanac sakmaod moZravi. igi Tavidan bolomde ar gasdevs simReras _ erT garkveul monakveTSi
CaerTveba mas. bans yovelTvis tonikuri funqcia aqvs da, simReraSi misi CarTvis Semdeg, Semxmobari, romelic manamde harmoniul
sayrdens warmoadgenda, dominantur funqcias asrulebs.
28
banis saxeebia:
oTxxmiani nadurebis Semsrulebel xmaTa Soris arsebobs mkveTrad Camoyalibebuli Tanafardoba, romelic simReris mxatvrul
saxes gansazRvravs. amis naTelsayofad ganvixiloT ramdenime simRera.
Semoqmedura _ simReras iwyebs mTqmeli, romlis winadadebasac Semxmobari aboloebs. Semdeg simReraSi ebmeba zeda xma _
wvrili. oTxi winadadebis Semdeg Cndeba bani, romelsac mTqmeli uerTdeba, Semdeg _ wvrili. es epizodi dasawyisia oTxmianobis:
Semxmobari gabmul bgeras ambobs, mTqmeli _ reCitatiul winadadebas asrulebs, bani ostinaturad meordeba, zeda xmaSi ki
krimanWuli Cndeba. oTxxmiani epizodis Semdeg bani eTiSeba da harmoniuli fuZis funqcia Semxmobars ekisreba, magram es droebiTia
_ kvlav Cndeba bani, xolo simReras zeda xma da Semxmobari aboloebs.
baileTura _ simReras iwyebs mTqmeli, romelsac zeda xma uerTdeba. Semxmobari Cndeba mxolod mecxre taqtSi, magram igi zeda
xmebis winadadebas ki ar aboloebs, aramed harmoniul fuZed gvevlineba, Tumca zogjer SeimCneva melodiuri svlebi kvartis
farglebSi. banis gaCena dasawyisia oTxmiani epizodisa, romelSic wvrili, mTqmeli da bani garkveul melodiur saqcevebs
asrulebs, kerZod:
wvrili
29
mTqmeli
bani
Semxmobari _ gabmuli bgera _ harmoniuli fuZea.
oTxxmianobis garkveuli monakveTidan Cndeba krimanWuli:
Allegretto-dan iTiSeba zeda xma, romelic Semdeg isev CaerTveba da SemxmobarTan erTad aboloebs simReras.
igive SeiZleba iTqvas CoCxaTuras Sesaxeb, magram gansxvaveba isaa, rom oTxxmian epizodSi mTqmeli da bani kvintiT moZraobs,
zeda xma ki periodulad Cndeba. simReras arsebiTad oTxi xma aboloebs, mxolod bolo TerTmeti taqtSi iTiSeba wvrili.
jiqura _ simReras iwyebs mTqmeli, romlis winadadebasac Semxmobari aboloebs. Semdeg mTqmels wvrili uerTdeba, Semxmobari
ki harmoniuli fuZis rols asrulebs. oTxxmian epizodSi _ Moderato-Si _ Cndeba krimanWuli, mTqmeli da bani ki arsebiTad
paralelurad moZraobs Semxmobaris gabmuli bgeris fonze. Maestoso-dan rigrigobiT iTiSeba calkeuli xma, Tumca epizodurad
isini zogjer kvlav erTad iyris Tavs. simReras aboloebs sami xma _ wvrili, mTqmeli da bani.
gordela _ simReras iwyebs mTqmeli, romelsac Semxmobari uerTdeba. meaTe taqtze CaerTveba gamyivanic. mTqmels ZiriTadi
melodia mihyavs, gamyivani melodiur figuraciebs asrulebs, xolo Semxmobari harmoniuli fuZea. Maestoso-dan Cndeba
oTxxmianoba metad sagulisxmo movleniT _ xmaTa dapirispirebiT: erTi mxriv, gamyivani, mTqmeli da Semxmobari, meore mxriv,
mTqmeli, Semxmobari da bani warmoqmnis urTierTdapirispirebul jgufebs, Tumca calkeul monakveTSi TiToeuli xma erTad iyris
Tavs. kodaSi bani iTiSeba da simReras gamyivani, mTqmeli da Semxmobari aboloebs.
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sajavaxura _ simReras iwyebs mTqmeli, Semxmobari _ harmoniul fuZe _ mxolod merve taqtidan erTveba. gamyivani Cndeba 24-e
taqtidan da Tavisebur melodiur figuraciebs asrulebs im dros, rodesac mTqmels ZiriTadi melodia mihyavs. epizodSi _
Comodo _ bani, gamyivansa da mTqmelTan erTad, warmoqmnis samxmianobas. oTxxmiani epizodi Cndeba mxolod Semxmobaris CarTvis
Semdeg, romlis gabmul bgeraze gamyivani figuraciebs asrulebs, mTqmeli _ reCitatiul melodias, bani _ ostinatur melodiur
saqcevebs. Moderato-dan bani iTiSeba, simRera samxmiandeba da aseve bolovdeba.
sasadilo _ simReras iwyebs mTqmeli da mas gamyivani uerTdeba. amis Semdeg Cndeba Semxmobari, romelic harmoniuli fuZes
warmoqmnis, da is epizoduri xasiaTisaa. oTxxmianoba Cndeba epizodSi _ Maestoso, sadac Semxmobari gabmუli bgeraa, mTqmeli da
bani paralelurad moZraobs, gamyivani melodiur figuraciebs asrulebs. gansaxilav epizodSi, gamyivanisa da banis monawileobiT,
oTxxmiani da orxmiani monakveTebi (nageboba) upirispirdeba erTamneTs. epizodSi _ Moderato _ bani iTiSeba, simRera samxmiandeba
da banis funqcias Semxmobari asrulebs.
mSvidoba _ simReras iwyebs mTqmeli, romlis winadadebasac Semxmobari aboloebs. gamyivanis CarTvis Semdeg Semxmobari
harmoniuli fuZea, mTqmeli melodias asrulebs, gamyivani _ figuraciebs. bani CaerTvis gamyivanTan erTad. mTqmelis CarTvis
Semdeg simRera samxmiandeba. garkveul monakveTSi bani da Semxmobari erTmaneTs enacvleba, Semdeg Cndeba oTxxmianoba, romelSic
Semxmobari gabmuli bgeraa, danarCeni xmebi garkveul melodiur saqcevebs asrulebs. banis gamoTiSvis Semdeg simRera bolovdeba
sami xmiT _ gamyivaniT, mTqmeliTa da SemxmobriT.
lela _ simReras iwyebs mTqmeli. vrceli musikaluri winadadebis Semdeg mas gamyivani uerTdeba. Semxmobari, harmoniuli
sawyisi, epizodurad Cndeba. yovel winadadebas iwyebs mTqmeli. oTxxmianobamde simReraSi bani CaerTvis da, gamyivansa da
mTqmelTan erTad, samxmianoba iqmneba. ori taqtis ganmavlobaSi bans Semxmobari enacvleba, rac oTxmianobis dasawyisia _ mTqmeli
da bani paralelurad moZraobs, gamyivani ki melodiur figuraciebs asrulebs.
zemoTqmulis gaTvaliswinebiT SeiZleba davaskvnaT:
aWarulsa da gurul oTxxmian nadur simRerebs yovelTvis iwyebs mTqmeli. Semdeg mas uerTdeba gamyivani anda Semxmobari, .
pirvel SemTxevvaSi savsebiT samarTliania sami avtoris zemoT damowmebuli miTiTeba: `naduris samxmian monakveTSi Semxmobari
damokidebulia zeviTa ori xmisagan _ mTqmelisa da gamyivanisagan, da gamoCndeba umTavresad maSin, rodesac es orive xma
gamoeTiSeba, magram yvelaze mTavari da sagulisxmo is aris, rom zogjer misi daniSnulebaa, rogorc mTqmelis, iseve gamyivanis
31
melodiuri moZraobis daboloeba~ (inaiSvili, noRaideli, CxikvaZe, 1961:11), magram meore SemTxvevaSi igi Zalas kargavs,
ramdenadac Semxmobars mxolod da mxolod banis funqcia akisria.
bani SeiZleba CaerTos oTxxmiani epizodidan an ufro adrec. banis adreulad CarTvisas gamoTiSulia Semxmobari. TviT
oTxxmiani epizodi svadasxva xasiaTisaa: zogjer masSi Cndeba krimanWuli, zogjerac zeda xmaSi viTardeba melodiuri saqcevebi.
Semxmobari umTavresad gabmul bgeras ambobs, mTqmels ZiriTadi melodia mihyavs, xolo bani sakmaod ganviTarebulia melodiurad
da zogjer ostinatur melodiur saqcevebs asrulebs. xSirad, oTxxmiani epizodis Semdeg, bani iTiSeba da simReras sami xma _
gamyivani, mTqmeli da Semxmobari aboloebs, magram SesaZlebelia simRera oTxi an ori xmiT dasruldes.
amrigad, TiToeul xmas simReraSi mniSvnelovani roli ekisreba, xolo maTi urTierToba warmoqmnis sakmaod mwyobr da
kanonzomierad ganviTarebul rTul polifoniur qsovils. xmaTa urTierTmimarTeba gansazRvravs naduri simRerebis agebulebasa
da calkeuli epizodis xasiaTs. rogorc davrwmundiT, oTxxmian nadur simRerebSi aris oTxxmiani da samxmiani epizodebic. ufro
metic: TviT naduri simRerebis ciklic moicavs oTxxmian da samxmian nadur simRerebs, magram es samxmiani simRerebi arsebiTad
gansxvavdeba ara marto sxva Janris samxmiani simRerebisagan, aramed saqarTvelos sxva kuTxeebis samxmini nadurebisganac.
rogorc vladimer axobaZe aRniSnavs, `aWarul xalxur simRerebSi mogvepoveba samxmiani naduri simRerebi, romlebisTvisac
maRali banis funqcia sruliad ucxoa da nadurebi mxolod dabali baniTaa cnobili. amasTanave, Tu zogjer erTi da imave
momZaxnelisa da gamyivanis melodiebs uxmobs mxolod Semxmobari, e.i. maRali bani, xolo meore SemTxvevaSi, rogorc maRali, iseve
dabali bani, gvebadeba azri, rom ganviTarebis garkveul safexurze, SesaZloa, marTlac arsebobda naduri simRerebi
gansakuTrebuli tipis harmoniuli fuZiT _ maRali baniT, xolo ganviTarebis Semdeg etapze nadurebSi Tavi iCina erTdroulad
orma harmoniulma fuZem maRali da dabali banis saxiT. dRes ki zogierTi naduri simReris sam xmaze Sesruleba, gansakuTrebuli
tipis SexmobiT, gamowveulia am simRerebis miviwyebiT~ (axobaZe, 1961:.24).
aq sayuradReboa ori ram: pirveli _ iseTi naduri simRerebi, romelTaTvisac maRali banis funqcia sruliad ucxoa, aWaris
garda moipoveba guriaSi, imereTSi, samegrelosa da leCxumSic. meore: mosazreba, _ TiTqos ganviTarebis garkveul safexurze
arsebobda naduri simRerebi maRali baniT, xolo ganviTarebis Semdeg etapze nadurebSi Tavi iCina orma harmoniulma fuZem maRali
da dabali baniT, _ ar aris damajerebeli. SeuZlebelia, Semxmobari ufro adre warmoqmniliyo (arsebuliyo), vidre bani. bani
qarTuli sasimRero Semoqmedebis organuli nawilia da TviT umartives orxmian simRerebSic ki mkvidri adgili uWiravs. garda
amisa, TviT pirveli xmis warmoqmnasac mkvlevrebi xom bans ukavSireben (dimitri arayiSvili, ivane javaxiSvili, Salva aslaniSvili,
zigfrid nadeli).
32
vladimer axobaZe qarTuli xalxuri simRerebSi mravalxmianobis ganviTarebis ramdenime formas gamoyofs:
1. ZiriTadi erTxmiani melodiis qvemoT Camoyalibda da ganviTarda harmoniuli fuZe banis saxiT.
2. samxmianobis Canasaxi, rodesac mTavari melodiis zemoT gaCnda harmoniuli fuZe _ dabali banis zednaSeni
maRali banis saxiT (mTavari melodia moqceulia or harmoniul fuZes Soris).
3. maRali banis ganviTareba _ maRal registrSi moqmedi harmoniuli fuZe melodiad iqca, rogorc samxmiani
simReris pirveli xma.
4. oTxxmianoba miRebulia polifoniur samxmian simRerebSi meoTxe xmis damatebiT (axobaZe, 1961:33).
avtoris pozicia cxadia: erTxmiani melodiis qvemoT yalibdeba bani, Semdeg warmoiqmneba maRali bani, rogrc dabali banis
zednaSeni, romelic droTa ganmavlobaSi samxmiani simReris pirveli xmis melodiad iqceva. da bolos: miiReba oTxxmianoba
polifoniur samxmian simRerebSi meoTxe xmis damatebiT. romelia es meoTxe xma? _ ra Tqma unda, Semxmobari, romelic
SeuZlebelia, win uswrebdes banis aRmocenebas.
magram riTaa gamowveuli, rom guriasa da aWaraSi vxvdebiT samxmian nadur simRerebs, romlebSic banis funqcias Semxmobari
asrulebs? am rTul movlenas Tavisi mizezebi aqvs. vladimer axobaZe erT-erT mizezad aseTi tipis simRerebis miviwyebas miiCnevs:
`zogierTi naduri simReris sam xmaze Sesruleba, gansakuTrebuli tipis SexmobiT, gamowveulia am simRerebis miviwyebiT~ (axobaZe,
1961:24).
Cven mier Cawerili simRerebidan, _ vaQ Tu dilas yurdRelmao, mTas xoxobi afrenila, calaburaQ (calazuraQ), wereTieQ da
gordelaQ, _ sam xmad sruldeba; qali viyav aznauri, sajavaxuraQ, yaranaQ, Cior-Citi, beri kaci CaCnaberi (am simReraSi meoTxe xma
mxolod dasasrul CaerTvis), gveli xrilsa miZvreboda, _ oTxxmad (inaiSvili, noRaideli, CxikvaZe, 1961:10).
Tu zemoaRniSnuli simRerebidan, mTas xoxobi afrenila, anu sasadilo, SevadarebT sxva Canawers _ es simRera Cven mier
Cawerilia oTxxmad. calabura vladimer axobaZes oTxxmad Cauweria. gordelas, rogorc Cveni, aseve axobaZiseuli Canawerebi,
oTxxmiania. mSvidoba da lela, romlebic axobaZis CanawerebSi ar gvxvdeba, Cven mier aseve oTxxmadaa Cawerili. zogierTi
zemoxsenebuli oTxxmiani simRera Cven sam xmad CaviwereT.
SesaZlebelia, oTxxmian simReraSi bani da Semxmobari erTdroulad ar JRerdes, ris gamoc realurad sami xma ismodes (ix.
vladimer axobaZis Canawerebi _ Ciora, yaranaQ da mTas xoxobi afrenila), magram, rogoradac unda iyos, am samxmian simRerebsac
iseTive aRnagoba aqvT, rogoric zemoxsenebul oTxxmianebs da es simRerebic tipobrivia.
33
metad TvalsaCino nimuSia yanuri (lixauri), romelSic xmaTa iseTive Tanafardobaa, rogoric oTxxmian nadurebSi. aq
Semxmobari orgvar funqcias asrulebs: aboloebs mTqmelis melodiur naxazs da mTeli simReris harmoniuli sayrdenia. igive
SeiZleba iTqvas dilis simReris Sesaxeb.
naduri simRerebis Janrs saqarTveloSi didi xnis istoria aqvs. oTxxmiani nadurebi Semoinaxa guriam da aWaram. rogorc zemoT
aRvniSneT, marTebulad ar migvaCnia mosazreba, TiTqos `aWaras, romelmac Tavis mxrebze gadaitana TurqeTis mravawliani
batonoba, Semounaxavs mravali iseTi qarTuli simRera, gansakuTrebiT qarTuli xalxuri mravalxmianobis iseTi nimuSebi,
romlebsac saqarTvelos sxva kuTxeebSi veRar vxvdebiT~ (inaiSvili, noRaideli, CxikvaZe, 1961:8). sabednierod, mravalxmianobis
aseTi nimuSebi aWarasTan erTad SemorCenilia mTel guriaSi.
rogorc mixeil Ciqovani aRniSnavs, `guriaSi oTxi saxis yanuri, anu naduri, icodnen: sajavaxuraQ, gurianTulaQ, SemoqmeduraQ
da qobuleTuraQ. TiToeuls garkveuli leqs- saCivari hqonda (Ciqovani, 1952:260). Tamar mamalaZe, avqsenti megreliZis cnobaze
dayrdnobiT, aRniSnavs: `guriaSi yanuri naduri, Tavisi xasiTisa da Sesrulebis mxriv, soflebis mixedviT gansxvavebuli yofila,
romelTa Soris gansakuTrebiT gamoirCeodnen gurianTula, qobuleTura, Semoqmedura, CoCxaTura da sxva~ (mamalaZe, 1962:59).
ra Tqma unda, nadurebis es sia arasrulia. garda aRniSnulisa, Tuki Canawerebis mixedviT vimsjelebT, maT SeiZleba
mivakuTvnoT: baileTuraQ, gurulaQ, gordelaQ, SeqceulaQ, jiquraQ da sxva. naduri simRerebis aWaruli repertuari aerTianebs
jiquras ciklis simRerebs: mSvidoba, qali viyav aznauri, murvani, Savi SaSvi Ciodao; vaQ, Tu Qeli Qelobdao, elia Tu meliao, mTas
iremi dawolila, beburs xidsa vakeTebdi, qori TeTri Wandarzeo, aba muxa wowinao. jiquras ciklis garda: vaQ, Tu dilas
yurdgelmao, yaranaQ, sajavaxuraQ, wereTieQ, CioraQ, mTas xoxobi afrenila, beri kaci CaCnaberi, lelaQ, gordelaQ da sxva.
samwuxarod, zogierTi simReris mxolod saxelwodeba SemogvrCa: Rupa, juryveTula, farjanula da sxva. jemal noRaidelis
cnobiT (xasan royvas gadmocema), `Zvelad ganTqmulma momRerlebma icodnern erTmaneTze gadakideba, Sejibreba. vinc
gaimarjvebda, mas xalxSi didi mowoneba da dafaseba hqonda, amitom naduris cnobili momRerlebi maragad inaxavdnen TiTo-
orola simReras, sxvas ar aswavlidnen. saWiro SemTxvevaSi TiTon imRerebdnen, mowinaaRmdege veRar gaimeorebda an, rogorc
vityodiT, veRar CamoarTmevda da, amrigad, pirveli xalxis TvalSi gamarjvebuli gamodioda, meore mowinaaRmdege _
damarcxebuli. ase yofila Rupac. igi sanikiZis, cecxlaZisa da noRaidelis simRera yofila. RupaSi gamoyenebuilia sayovelTaod
cnobili xalxuri leqsi sanTlis guTans gavakeTeb. jiquras ciklis zogierTi simReris ganxilvisas mkvlevari SedarebiT ufro
frTxilad udgeba sakiTxs. wereTieQze ki ambobs: `rogorc leqs-saCivridan Cans, es leqsi imereTSi unda iyos Seqmnili, kerZod,
sawereTloSi da wereTie amaze unda miuTiTebdes~ (noRaideli, 1967:33-35). noRaideli msjelobs mxolod sityvier teqstze da,
rogrc aramusikosi, SeiZleba Tavs ikavebs simReris musikaluri mxaris ganxilvisagan, magram, Tuki sxva SemTxvevaSi igi am mxriv
34
SeuzRudavia, aseTi mosazreba gamoricxulia. SarSandelsa nayanebsa ganxilvisas, xazgasmiT aRniSnavs, rom am simReras zogan
sajavaxuras uwodeben, zogan _ qaquTuras, rac imaze miuTiTebs, rom es simRera gavrcelebuli yofila, rogorc sajavaxoSi
(romelic gurias ekuTvnoda), ise _ qobuleTSi, qaquTSi, e.i. aWaris sofelSi~ (iqve:17). Semdeg avtori ganixilavs qobuleTis
raionSi Caweril teqsts da dasZens: `am leqsis imeruli da guruli varianti sxvadasxvagvarad iwyeba: Sarazeda kvali vnaxe patarai
nadirisa, sxvaoba didia: Tu aWarulSi Citis nakvalevi upoviaT, imerulsa da gurulSi patara nadiris kvalia napovni~ (iqve:18).
sakiTxisadmi avtoris damokidebuleba cxadia: imereTSi SesaZlebelia, gavrcelebuli iyos simReris teqsti da ara TviT
simRera. igive iTqmis wereTies Sesaxebac.
msgavsi azrisaa sami avtori: `Janris mixedviT maTi Sinaarsi metad mravalferovania. am mxriv aq warmodgenilia
sayofacxovrebo, sagmiro, sanadiro, salaRobo, lirikuli, epikuri, alegoriuli, saxumaro leqsebi. sagulisxmoa isic, rom
nadurebSi gamoyenebuli leqsebis mixedviT, am simRerebis paralels vnaxulobT ara marto gurul musikalur folklorSi, aramed
saqarTvelos sxva raionebis sasimRero SemoqmedebaSic... analogiur leqsebsac vxvdebiT qarTlur, kaxur, imerul, mesxur
simRerebSi~ (inaiSvili, noRaideli, CxikvaZe, 1961:10).
aq garkveviT Cans, rom ganxilulia saqarTvelos sxvadsxva kuTxis simReraTa (kerZod, imerulis) teqstobrivi paralelebi da,
cxadia, gaumarTlebelia misi ganzogadeba simReris musikaluri mxareze. iqneb Cveni midgoma calmxrivia da ar aris sakmarisi
mxolod teqstobrivi analizi? am SemTxvevaSi arsebobs meore gamosavali _ musikaluri praqtika.
ivane javaxiSvili wers: `zemo imereTSic, Cveulebriv, samxmiani simRera scodniaT da mxolod sZlispirebsa da sauliero
galobaSi emateboda meoTxe xma. amasTanave sagulisxmoa, rom samxmian simRerebSi momReralTa ricxobrivi ganawileba Tanaswori ki
ar iyo, aramed pirvelsa da meore xmas TiTo momRerali ambobda, mesame xmis mTqmeli, mebane, ki SesaZlebelia bevri yofiliyo.~
iqve mecnieri imowmebs nestor wereTlis naTqvams: `Zlispirebi xalxma ar icoda xolme, TavadaznaurobaSic zogierTma icoda mama-
papidan naswavli, Zlispirebis galobis dros oTxi xma yofila saWiro: meoTxed dvrini, anu `dabali bani~, erTvoda~ (javaxiSvili,
1938:73-74).
Cven SevecadeT, saeqspedicio muSaobisas migvekvlia oTxxmiani naduri simRerebisaTvis imereTSi, magram es SeuZlebeli
aRmoCnda. rogorc xalxuri simReris cnobilma Semsruleblebma gadmogvces, imeruli naduri simRerebi, Cveulebriv, samxmiania.
sofel muxuraSi (tyibulis raioni) gangvimartes: nadurebs asrulebs rva kaci, oTxi bani, ori mTqmeli da ori wvrili (maRali).
sxva gadmocemiT, nadurs rva kaci asrulebs: oTxi bani, ori meore xma _ kafia, anu gamtani, da ori wvrili. nadurs iwyebs bani,
Semdeg mihyveba meore da Semdeg _ wvrili.
35
sofel pirvel svirSi gviTxres: nadurebs mReris rva kaci: oTxi bani, ori meore xma _ kafia, anu gamtani, da bolos _ wvrili.
sruldeba orpirulad. muxuraSi zeda xmas agreTve ficxsa da SeZaxilsac uwodeben. ficxs xmaroben perevisaSic. argveTSi simReraSi
monawile xmaTa saxelebad damwyebi, damZaxneli da bani miaCniaT. es cnobebi, rogorc imereTis musikaluri praqtika, adasturebs
imeruli nadurebis samxmianobas da gvawvdis simReraSi monawile xmaTa imereTisaTvis damaxasiaTebel saxelebs: wvrili, ficxi, anu
SeZaxili _ zeda xmisaTvis da kafia, anu gamtani _ Sua xmisaTvis.
zemoTqmulis gaTvaliswinebiT, SeiZleba davaskvnaT: imeruli naduri simRerebi samxmiani wyobisaa da, aWareli glexebis mier
mowodebuli cnobiT, Tu imereTSic icodnen oTxxmiani simRerebi, es exeba mxolod simReris sityvier mxares da ara musikalur
aRnagobas (simReris sityvier mxareSi, albaT, avtori gulisxmobda orpiruli Sesrulebisas gundebs Soris sityvier gadaZaxilebs.
red.), miT umetes, imeruli simReris Sesaxeb TviT imereli glexebis msjeloba ufro bunebrivi da damajerebeli gveCveneba. Tuki
oTxxmianoba marTlac arsebobda Zlispirebsa da saeklesio galobaSi, romelic xalxma `ar icoda~, es uflebas ar gvaZlevs
vamtkicoT, rom gordelaQ imereTSi gavrcelebuli naduria (sofel muxuraSi Cven cnobili mgaloblis varden qurcikiZisagan
ramdenime aTeuli samxmiani sagalobeli CaviwereT).
Tavi mesame
naduri simRerebis warmoSoba
naduri simRerebis ganxilvisas, TavisTavad ibadeba kiTxva maTi genezisis Sesaxeb. mkvlevarTa umravlesoba maT uZveles
simRerebad miiCnevs. grigol CxikvaZis azriT, `udavoa, rom musikaluri teqsti uZveles xanaSi warmoqmnili simRerebisa, aTeuli
saukunis manZilze ver SeinarCunebda Tavis pirvandel saxes, magram, miuxedavad amisa, Cvenamde moRweul zogierT qarTul simReraSi
aSkarad aRbeWdilia kvali metad Soreuli saukuneebisa. am kategoriis simRerebs mivakuTvnebT micvalebulis datirebebs, e.w. zars,
anu tirils, sawerCveulebo da samkurnalo simRerebs, nadurebs (xazgasma Cvenia o.C.), nadurebs, dakavSirebuls miwis
meurneobasTan, da, agreTve, im simRerebs, romelbSiac mocemulia poeturi saxeebi, dakavSirebuli qarTveli xalxis warmarTul
msoflmxedvelobasTan. ...im simReraTa ricxvs, romelTa ara marto poeturi, aramed, unda vifiqroT, intonaciuri elementebic
momdinareobda saukuneTa siRrmidan da asaxaven warmarTul kulturas, SeiZleba mivakuTvnoT: dideba, lazare, lomisa, iavnana,
sabodiSo, anu batonebo; mze Sina da mze gareTa; zari, anu tirili; lile, lemCilio _ iaqaS; dideba Taringzerals, naduri,
36
xelxvavi (xazgasma Cvenia o.C.), ferxuli, anu ferxisi; rokva da mravali sxva, romlebSic musika mWidro kavSirSia sityvasa da
moZraobebTan (CxikvaZe, 1948:13-14).
rogorc vladimer axobaZe aRniSnavs, `nadur simRerebs ganvlili aqvT metad grZeli da rTuli gza, dawyebuli erTxmianobidan
_ oTxxmianobamde... naduri simRerebis meti nawili sruldeba teqstiT, romlis Sinaarsi dRes CvenTvis ucnobia. am mxriv
sayuradReboa naduri simRerebis mesame nawili, romelic agebulia iovis an ia-boes teqstze. CvenTvis gaugebaria am sityvebis
mniSvneloba, magram viRebT ra mxedvelobaSi naduri simRerebis damaboloebel nawilSi monadeTa ganwyobilebas da mTeli
procesis ritualur xasiaTs, azri gvebadeba, aRniSnuli sityvebi xom ar aris romelime RvTaebis saxelis naSTi, RvTaebisa,
romelmac droTa ganmavlobaSi dakarga Tavisi mniSvneloba da dRes nadur simRerebSi fragmentebis saxiTaa Semonaxuli. Tu es
marTlac dadasturda, Cven SegviZlia Sromis naduri forma da simRerebi, Tund metad martiv formebSi, mivakuTvnoT Soreul
warsuls~ (axobaZe, 1961:29).
sainteresoa jemal noRaidelis mosazreba: `SedarebiT Zvel simRerebad migvaCnia Sromis simRerebi, yvela naduri: yanuri
iqneba aseTi Tu xelxvavi, elesa Tu SromasTan dakavSirebuli sxva saxis simRerebi: mgzavruli, mayruli, abadelia, Svidkaca da sxva
(noRaideli, 1967:28).
naduri formis simRerebis ganxilvisas karl biuxeri aRniSnavs: `Tu ki es wesi Semoinaxa xalxma ramdenime aTaswleulis
ganmavlobaSi da ase farTod gavcelda, es ukve imis damadasturebelia, rom Sromis amgvari saSualeba ekonomikurad ufro
xelsayrelia, vidre erTpirovnuli Sroma~ (biuxeri, 1923:227). mixeil Ciqovanis azriT, `naduri Toxnis dros Tavisi warmoSobiT
erT-erTi uZvelesi simReraTagania~ (Ciqovani, 1938:108).
zemoxsenebul yvela avtors naduri simRerebi uZvelesad miaCnia, magram sainteresoa, ra monacemebis safuZvelze romel epoqas
miekuTvneba isini? grigol CxikvaZe warmarTul epoqas varaudobs: `yvela am simReraSi areklilia religiuri rwmena, qarTveli
xalxis qristianobamdel epoqaSi da gadanaSTebi maTi warmarTuli samusiko kulturisa. amasTanave CamoTvlil simRerebSi savsebiT
aSkaraa agraruli, mogvuri da sawesCveulebo funqciebi da gvarovnuli wyobileba~ (CxikvaZe, 1948:15).
karl biuxeri monaTmflobelur xanaze miuTiTebs: `es mgrZnobiare simRera, etyoba, jer kidev monaTmflobelobis dros aris
Seqmnili. igi ver egueba Tanamedrove Sromis pirobebs _ nads, magram mainc Tan axlavs mas, rac imis damadasturebelia, rom xalxis
TvalSi mezobluri urTierTdaxmareba naklebad gansxvavdeba salaRobo Sromisagan. Tuki salaRobo Sromis dros Sromis simRera
da sakravieri musika warmoadgens madisciplinebel saSualebas, maSin am mxriv mas ufro didi mniSvneloba unda hqonoda
monaTmflobelobis dros~ (biuxeri, 1923:227-229).
37
amave azrisaa Salva aslaniSvilic: `unda vifiqroT, rom elesa Sromis erT-erTi uZvelesi simReraTagania, romelsac monuri
Sromis dros asrulebdnen~ (aslaniSvili, 1954:273).
xelxvavis ganxilvisas jemal noRaideli SeniSnavs: `rogorc Cans, uZvelesi drois simReraa. leqsSi moxseniebulia rogorc
warmarTuli, ise qristianuli drois wmindanebi... zog variantSi wminda ninos magier wminda giorgia gamoyvanili. aqedan unda
davaskvnaT, rom simRera gaCenila warmarTul periodSi da dakavSirebuli iyo puris kalosTan, xolo qristianuli xanidan leqsSi
wminda nino Sevida da XVII saukunidan xelxvavi simindis kulturas daukavSirda... zogierT SemTxvevaSi warmarTuli drois wmindani
wmida giorgi (albaT, igulisxmeba warmarTuli TeTri giorgis kulti, Tumca dasavleT saarTveloSi es nakleb mosalodnelia.
red.) gurul-aWarul variantSi Secvlilia qristianuli drois wmindaniT _ wmida ninoTi~ (noRaideli, 1967:26,42).
rogorc dimitri janeliZe aRniSnavs, `roca nadi samuSaos morCeboda, Toxebs qviT mopiravdnen da maspinZlisas mividodnen
naduris simReriT da ToxebiT miadgebodnen ezoSi romelime xes: es xe unda moeWraT ToxebiT da, rac ufro did xes (zogjer
vaziansac ar daindobdnen) waaqcevdnen, miT ufro sasaxelo iyo. xis moTxris wes-Cveuleba warmarTuli kultis gadmonaSTi unda
iyos da aseTi elementebis nadurSi SenarCuneba imas unda mowmobdes, rom koleqtiuri Sromis es forma ZvelisZvelia~ (janeliZe,
1948:39).
zemoxsenebul mkvlevrebi TavianT msjelobaSi emyarebian Semdeg faqtorebs: simReraTa sityvier teqsts, qarTveli xalxis
warmarTul msoflmxedvelobasTan dakavSirebuli poeturi saxeebs, musikaluri kulturis gadmonaSTebs, simReris intonaciur
elementebs, simReraTa saerTo xasiaTs, maT mWidro kavSirs Sromis procesTan, simReris socialur funqcias, eTnografiul
monacemebs da sxva.
qarTuli xalxuri simReris ganxilvisas sayuradReboa: garkveuli Janris esa Tu is leqsi, simReris teqstad qcevisas, xSirad
icvlis Janrul saxes. es gansakuTrebiT TvalsaCinoa Sromis, sufrul da mgzavrul simRerebSi. ufro metic: leqsebi xSirad
ritmsac ki icvlis, rac SeiZleba aixsnas xalxuri sasimRero Semoqmedebis zogierT JanrSi sityvieri teqstis improvizaciiT, Tumca
es ar gamoricxavs zemoxsenebuli movlenis gamomwvevi sityvieri da musikaluri teqstebis urTierTkavSirs, da am mxriv arc naduri
simRerebia gamonaklisi.
nadur simRerebSi sityvieri teqstis Tavisufali gamoyeneba sakmaod cnobilia samecniero literaturaSi. jemal noRaideli:
`naduri leqs-simRerebis Tematika mravalferovania, isini SeiZleba gavyoT ramdenime Tematur jgufad: sawesCveulebo,
sayofacxovrebo, sagmiro, satrfialo da sxv. dasavleT saqarTveloSi, kerZod, aWarasa da guriaSi, nadi or gundad iyofa, isini
SenacvlebiT asruleben sawesCveulebo, sayofacxovrebo, sagmiro Tu satrfialo leqs-simRerebs, romlebiT aq blomad gvxvdeba~
(noRaideli, 1967:11). vladimer axobaZe: `arc erTi teqsti organulad ar ukavSirdeba melodias~ (axobaZe, 1961:29). karl biuxeri:
38
`ramdenadac uZveles Sromis simRerebs ar gaaCniaT garkveuli ucvleli teqsti, aramed maTi improvizacia drosa da viTarebaze
damokidebuli, amdenad leqss ar SeuZlia iarsebos TavisTavad, piriqiT, upirveles yovlisa, damoukideblobas iZens uZvelesi
Sromis simReris musikaluri elementi, misi melodia~ (biuxeri, 1923:274). amaves adasturebs sami avtori: `naduris
Semsruleblebis gadmocemiT, Zvelad qobuleTis raionSi, kerZod, sof. leRvaSi, nadze 32 simReris Sesruleba scodniaT.
amasTanave yuradRabas iqcevs is garemoeba, rom am simRerebs sakmaod vrceli teqstebi hqonia, Tumca arc erTi maTgani Sromas ar
exeba. Janris mixedviT maTi Sinaarsi metad mravalferovania. am mxriv aq warmodgenilia sayofacxovrebo, sagmiro, sanadiro,
salaRobo, lirikuli, epikuri, alegoriuli, saxumaro leqsebi~ (inaiSvili, noRaideli, CxikvaZe, 1961:10).
aseT mosazrebaTa miuxedavad, zogierTi mkvlevari, ZiriTadad, sityvier teqsts eyrdnoba. upirvelesad, vgulisxmobT jemal
noRaidelis mosazrebas xelxvavis Sesaxeb. vfiqrobT, aq faqtobrivi Secdomaa: wmida giorgi da wmida nino qristianuli xanis
wmidanebi arian da maTi dapirispirebisas meti sifrTxilea saWiro. albaT, avtori gulisxmobda, rom wminda giorgis warmarTul
saxes mTvaris RvTaeba warmoadgens da, gaugebrobis Tavidan asacileblad, es garkveviT unda Tqmuliyo. bundovania mkvlevris
Semdegi mosazrebac: `guriasa da aWaraSi uZvelesia is simRerebi, romlebsac usityvod mRerian an mRerian teqstiT, magram igi
CvenTvis gaugebaria. aseTebSi gasageb teqsts mxolod erTi _ mTqmeli, anu damwyebi, mReris, xolo danarCeni xmebi uteqstoa~
(noRaideli, 1967:27). Tu teqsti saerTod gaugebaria, rogor SeiZleba erTi xma, Tundac mTqmeli, gasageb teqsts mRerodes an
rogor davamtkicebT simReris siZveles teqstis gaugebrobiT? da mTavari: ra ufleba gvaqvs, sityvieri teqsti miviCnioT kvleva-
Ziebis amosaval wertilad?
gaugebaria grigol CxikvaZis poziciac: TiTqos uZveles xanaSi warmoqmnili musikaluri teqsti aTeuli saukunis Semdeg ver
SeinarCunebda Tavis pirvandel saxes. miT umetes, sityvier teqsts unda ganecada cvlileba da Znelia Soreuli saukuneebis kvali
veZeboT im simRerebSi, romelSiac mocemulia poeturi saxeebi, dakavSirebuli qarTveli xalxis warmarTul
msoflmxedvelobasTan. mecnieris azriT, am simReraTa sityvieri teqstis poeturi saxeebi da, SesaZloa intonaciuri elementebic,
momdinareobs saukuneTa siRrmidan (CxikvaZe, 1948:13).
magram, Tuki sityvieri teqsti ar aris sando komponenti Sromis simReris Seswavlis zogierTi mniSvnelovani problemis
gadasawyvetad, igive ar iTqmis simReris musikalur kanonzomierebebsa an mis socialur funqciaze. SemTxveviT ar miuTiTebs karl
biuxeri, rom, upirvelesad, damoukidebelia Zveli Sromis simReris musikaluri elementi _ melodia. amitomac grigol CxikvaZis
mosazreba, _ uZveles simRerebSi intonaciuri elementebis saukuneTa siRrmidan momdinareobis Sesaxeb, _ savsebiT
damajerebelia. agraruli, mogvuri, sawesCveulebo funqciebi da samusiko kulturis gadmonaSTebic mis daskvnebs met
damajereblobas matebs. sainteresoa karl biuxeris kidev erTi debuleba: `umetes SemTxvevaSi amosaval wertils warmoadgens
39
TviT Sesasrulebeli samuSao. Tumca mraval simReraSi Sromis procesTan kavSiri sakmaod Soreulia, xolo sxva SemTxvevaSi
savsebiT qreba~ (biuxeri, 1923:228). albaT, am mosazrebas iTvaliswinebda Salva aslaniSvili elesaze damajerebeli msjelobisas:
`imisTana simRerebis warmoqmna, rogoric aris elesa, dakavSirebuli unda iyos moTxovnilebasTan, organizebuli iqnes
koleqtiuri moZraoba mZime samuSaos Sesrulebis procesSi~ (aslaniSvili, 1954:271). am debulebas emxroba vladimer axobaZec:
`simRera elesa uSualod dakavSirebulia Sromis procesTan, saxeldobr, tyidan xis gamotanasTan, da, raki es erTi an ori
muSaxelisaTvis SeuZlebeli iyo, SeuqmniaT specialuri forma Zalis gaerTianebisa, aseve Zalis gamaerTianebeli simRera, romelic,
unda vifiqroT, ganviTarebis calkeul etapze metad martivi unda yofiliyo. SesaZloa, adrindel etapze saqme gvqonda ara
simRerasTan, aramed metad Tavisebur SemoZaxilTan, magram droTa viTarebaSi adamianma Sromis aRniSnul process Seuwyo simRera,
romelic TandaTanobiT ganviTarda da maRal dones miaRwia~ (axobaZe, 1961:26).
vladimer axobaZe iTvaliswinebs amJamad nadur simRerebSi Sinaarsmoklebuli sityvebis (iovsa da ia-boes) gamoyenebas da,
simReris Soreuli warsulisadmi misakuTvneblad, varaudobs agraruli RvTaebis arsebobis SesaZleblobas.
Sinaarsmoklebuli sityvebs yuradReba miaqcies aramusikosebmac _ giorgi meliqiSvilma (urartu) da SoTa ZiZigurma
(saenaTmecniero sakiTxebi), magram xalxuri sasimRero SemoqmedebaSi am mxriv daskvnebis gamotana gacilebiT Znelia. miT umetes,
rogorc vladimer axobaZe aRniSnavs, arc erTi teqsti organulad ar ukavSirdeba melodias.
zemoaRniSnulis gaTvaliswinebiT, mkvlevrebi savsebiT marTebulad miekuTvneben Sromis simRerebs winaqristianul xanas, Cven
_ monaTmflobelurs. Tumca am Sexedulebis dasamtkiceblad saWiroa kulturis sxva dargebis Taviseburebebis gaTvaliswineba.
`sxvadasxva qveynis da sxvadasxva kulturis ganviTarebis istoria migviTiTebs, rom erTi da imave kulturis calkeuli dargi
ganviTarebis done xSirad erTmaneTs ar emTxveva, magram kulturis zogierTi dargi Tavisi ganviTarebis doniT imdenad axlosaa
erTmaneTTan, rom maTi urTierTgavlena Tavs iCens realur mxatvrul saSualebebSi. am SemTxevvaSi, ama Tu im mxatvruli
nawarmoebis warmoqmnis drois gansazRvrisaTvis, sruli ufleba gvaqvs vixelmZRvaneloT kulturis im dargis monacemebiT,
romelsac aqvs saerTo Ziri da ganviTarebis igive done, rac kulturis Cven mier gansaxilav dargs~ (aslaniSvili, 1950:159).
viziarebT ra am mosazrebas, saWirod migvaCnia gansaxilavi periodis sanaxaobrivi kulturis gaTvaliswineba. qarTveli xalxis
sanaxaobriv kulturas xangrZlivi istoria aqvs da, vfiqrobT, marTebulia dimitri janeliZis azri: `dasavleT saqarTvelos
teritoriaze mopovebuli dionise bakqisa da maxiobelis mimosis qandakebani, gliptikuri Zaglebi dionisesi, niRbebisa da
Teatralur SejibrebaSi gamarjvebulTa gamosaxulebiT, rogoradac unda gavigoT maTi daniSnuleba da warmomavloba,
adastureben kolxeTis Teatralur-sanaxaobrivi kulturis maRal dones, gacxovelebul SemoqmedebiT urTierTobas Teatraluri
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xelovnebis mxriv dawinaurebul antikur samyarosTan~ (janeliZe, 1965:87). Cven yuradRebas gavamaxvilebT glovis mgosnebsa da
misteriebze.
mematiane leonti mroveli aRwers farsman qvelis datirebas: `maSin iqmna glova da tirili, da tyeba yovelTa zeda qarTvelTa
warCinebulTa da vidre glaxadmde. da ityebdes yovelni TavTa TvisTa yovelTa Sina qalaqTa da dabnebTa, rameTu dasxdian
mgosanni glovisani da Sekrbian yovelni da aKsenebdian simKnesa da siquelesa, da siSuenieresa da saxierebasa farsman quelisasa ...
da, aha, esera, xvalisa dReE iyo Kma oxrisa da sayvirisa. gamovida eri uricxU, viTarca yuavilni velisani, da zari saSineli
gamovidoda~ (mroveli, 1955:53-88). es cnoba mravalmxriv sayuradReboa: gadmocemulia Zveli saqarTvelos socialur viTareba,
xazgasmulia glovis mgosnobis xangrZlivi tradicia, daculia qarTuli sanaxaobrivi kulturis mniSvnelovani mxare. CvenTvis
sainteresoa, rom masSi Cabmulia sazogadoebis yvela fena da yvelaze mTavari _ sanaxaobis masStaburoba, monumenturoba da
udidesi gaqaneba _ glovis mgosnebi mosulan yoveli qalaqidan da dabidan. igive SeiZleba iTqvas mTvaris mTavari RvTaebis _
armazis _ sadidebel misteriazec.
vaxuSti batoniSvili gvauwyebs: `kualad uwyodian dResaswauli kerpTa RmerTTa TUsTa: ganvidis TUT mefe da didebulni da
mcirebulni buk-dabdabiTa da yovliTa ZnobiTa da saxiobiTa; Seswirvidian ZroxaTa, KarTa, cxovarTa da nadirTa. Tayvaniscemdnen
armazs, Semdgomad zadens da merme sxuaTa RmerTTa. aramed umetes didi iyo dResaswauli armazisa, da Semdgomad Tayvaniscemisa
hyvian nadimni da gancxromani didiTa WamiTa da RUnis smiTa, rokviTa ferKisiTa, pirobiTa, saxiobiTa da ZnobiTa sam dRe da
moiqcian TUs-TUsad saxid~ (bagrationi vaxuSti, 1941:18). am SemTxvevaSic sanaxaoba grandiozulia, diadi da maCvenebelia kulturis
sakmaod maRali donisa.
am Temaze saubrisas, cxadia, gverds ver avuvli im periodis xuroTmoZRvrebas da mis umniSvnelovanes nimuSs _ ufliscixes,
romlis Teatrons (Zvel qarTulSi Teatrs aRniSnavda. red.) Salva amiranaSvili ase aRwers: `mTavari darbazi scenas warmoadgens,
sadac warmodgena imarTeboda. Tanaxmad antikuri saTeatro arqiteqturis wesisa, sasceno darbazis orive mxareze da ukan
moTavsebuli iyo damatebiTi oTaxebi, romlebsac damxmare mniSvneloba hqondaT. ufliscixis saTeatro Senoba romauli Teatris
princips icavs~. (amiranaSvili, 1944:121). ufliscixis kompleqsSi Serwymulia romauli da erovnuli xuroTmoZRvrebisaTvis
damaxasiaTebeli Tvisebebi, magram ara marto ufliscixe, aramed `materialuri kulturis Zeglebi, sakaro da sxva nagebobaTa
naSTebi, romelTac Cvenamde moaRwia Zveli qarTlidan, gvaocebs Tavisi monumenturobiT~ (meliqiSvili, 1959:428).
es mciredi magaliTebic sakmarisia imis dasadastureblad, rom monaTmflobelur saqarTveloSi arsebuli sanaxaobrivi
kulturis damaxasiaTebeli niSan-Tviseba iyo: masStaburoba, masobrioba, monumenturoba, sidiade da es kultura ganviTarebis
sakmaod maRal safexurze idga.
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msgavs niSnebs amJRavnebs naduri simRerebic, ramdenadac maT asrulebs momReralTa didi jgufi. qarTuli kulturis
sxvadasxva dargis didi msgavseba imaze miuTiTebs, rom sanaxaobrivi kultura, erovnuli xuroTmoZRvreba da naduri simRerebi
erTsa da imave periods miekuTvneba, kerZod, monaTmflobelur formacias. sakiTxavia, vin asrulebda Sromis simRerebs
monaTmflobelur saqarTveloSi? didZali faqtobrivi masalis Seswavlis safuZvelze karl biuxeri askvnis: `mindvris samuSaoebis
Semsrulebeli monebis Sromis simRerebis Sesaxeb garkveviT arafris Tqma ar SegviZlia. SesaZlebelia, isini Tan axlda Sromas
iseTive saxiT, rogoric is iyo amerikis koloniebSi mcxovreb zangebTan. Zveli xalxebi xom simReras yovelgvari mZime samuSaos
Tanmxleb saSualebad miiCnevdnen~ (biuxeri, 1923:229). avtori iTvaliswinebs, rom Sromis process aucileblad Tan unda axldes
simRera, magram, raki xelSesaxebi masala ar gaaCnia, amerikis koloniebSi mcxovreb zangTa simRerebis msgavsi unda iyoso.
gasaocaria, rom biuxers, romelic zRva masalas flobda, ar aRmoaCnda Sromis simReraTa erTi jgufi, magram, Tu sakiTxs Rrmad
CaukvirdebiT, es garemoeba bunebrivad unda miviCnioT.
marTalia, monuri Sromis masStabebi metad farTo iyo saerTod, kerZod, saqarTveloSic, rom `soflis meurneobaSi monuri an
naxevradmonuri Sromis gamoyeneba eWvgareSea, sakmaod SezRuduli masStabebiT~ (meliqiSvili, 1959:427), magram ar SeiZleba gverdi
avuaroT im garemoebas, rom monuri Sroma garkveulwilad Semofargluli iyo. rogorc ivane javaxiSvili, simon janaSia da niko
berZeniSvili aRniSnaven, `blomad iyvnen maSin saqarTveloSi monebic... monebi hyavdaT mefis sagvareulos, qurumebs, sxva mdidar
xalxsac. monebs sxvadasxva saqmeze amuSavebdnen, saSenebel qvas aTlevinebdnen, Tixas azelinebdnen, madans aTxrevinebdnen. monebs
xmarobdnen, agreTve, rogorc meniCbeebs (mexofeebs) mdinareSi naosnobis dros... amitom vambobT, rom imdroindeli qarTli
monaTmflobeluri saxelmwifo iyo~ (javaxiSvili, janaSia, berZeniSvili, 1943:78).
straboni SemTxveviT ar gamoyofs mxedarTa da miwismoqmedTa gvars (wodebas): `adamianTa oTxi gvari mosaxleobs am qveyanaSi:
erTi (gvaria) da pirveli, romlisagan mefeebs sxamen maxloblobisa da asakisa mixedviT uxucess, xolo meore (am gvaridan)
mosamarTleobs da mxedarTmTavrobs. meore (gvari) aris qurumTa, romlebic zrunaven, agreTve, mezobelTa samarTalze; mesame
(gvari) aris mxedarTa da miwismoqmedTa. meoTxe (gvari) aris xalxisa, romlebic samefo monebi arian da akeTeben yvelafers, rac
cxovrebisaTvis aris saWiro. sazogado aqvT maT qoneba naTesaobisda mixedviT. marTavs da ganagebs TiToeuls uxucesi, aseTebi
arian iberebi da maTi qveyana~ (yauxCiSvili, 1957:130).
miwaTmoqmedTa da monaTa amgvari dapirispireba imiT aris gamowveuli, rom `monebis mopovebis ZiriTadi wyaro iyo omi.
samxedro tyveebi da maTi STamomavalni warmoadgendnen, eWvgareSea, monaTa ZiriTad kontingents Zvel qarTlSi. qarTlis mefeebis
mier warmoebuli mravalricxovani omebi, sxvaTa Soris, miznad isaxavda, agreTve, monebis _ samxedro tyveebis xelSi Cagdebas~
(meliqiSvili, 1959:428). im dros, rodesac miwaTmoqmedni Tavisufali adamianebi iyvnen, sasoflo meurneobaSi `batonobda
42
Tavisufal miwaTmoqmedTa _ meTemurTa Sroma. sul sxvagvari mdgomareoba iyo saqmianobis iseT dargebSi, rogoricaa: mSenebloba
da xelosnoba, sadac upiratesi adgili monur Sromas ekava~ (iqve:427-429).
zemomoyvenili msjelobidan SeiZleba davaskvnaT: samiwaTmoqmedo samuSaoebTan dakavSirebuli simRerebi ar SeiZleba
Seesrulebina monebs, romlebic arsebiTad ar iyvnen Cabmuli am saqmianobaSi. es simRerebi sruldeboda Tavisufal miwaTmoqmedTa
(da ara tyveTa) mier, romlebic erovnul sasimRero Semoqmedebas emsaxurebodnen. amitomac aris, rom naduri simRerebi qarTuli
xalxuri musikaluri Semoqmedebis arsebiT nawils Seadgens da ara qarTvel miwaTmoqmedTa `klasobrivi SemWidroebulobis
saSualebas~ (aslaniSvili, 1954:268). monebs, samxedro tyveebs, sxva xalxis warmomadgenlebs, ar SeeZloT sasimRero xelovnebis es
sfero ganeviTarebinaT: erTi mxriv, TavianTi erovnuli kuTvnilebis, meore mxriv, saqmianobis gamo. dasaSvebad migvaCnia mxolod
monebis monawileoba iseTi simRerebis SesrulebaSi, romlebic ukavSirdeboda simZimis aweva-gadatanas. vgulisxmobT simRera
elesas, romelic musikalurad `miekuTvneba Sromis im ganuviTarebel simRerebs, romlebic uSualod dakavSirebulia
warmoebasTan. maTi musikaluri Sinaarsi metad primitiulia da moZraobis uSualo gamosaxulebas warmoadgens~ (iqve: 273). ra Tqma
unda, am simReris gaigiveba ar SeiZleba guriasa da aWaraSi amJamad arsebul elesasTan, romelsac zogjer miwis samuSaos
Sesrulebisas mRerian.
vladimer axobaZis samarTliani SeniSvniT, marTlac ganviTarebis metad rTul procesTan gavqvs saqme, magram sakiTxavia: Sromis
naduri forma mxolod da mxolod urTierTdaxmarebis, Tu amave dros eqspluataciis formac iyo? `Tu saqme gvaqvs nebayoflobiT
nadTan, romelic gankuTvnilia soflis ubralo mcxovrebTaTvis, igi urTierTdaxmarebas emyareba, magram tomis beladTan igi
samsaxuris an begaris saxisaa. igive movlenaa im SemTxvevaSic, Tu samuSao sazogadoebrivi xasiaTisaa. cxadia, rom amgvari
nebayoflobiTi daxmarebisas, soflis SedarebiT ufro SeZlebuli mcxovrebisagan mepatrone ufro mets iRebs, vidre iZleva, da
miwis sakuTrebiT arsebuli uTanasworobis pirobebSi amgvar muSaobas SeuZlia miiRos begaris forma~ (biuxeri, 1923:189).
ra mdgomareoba iyo am mxriv saqarTveloSi? strabonis cnobiT, elinistur epoqaSi miwaTmoqmedi mosaxleoba iyofoda or
ZiriTad fenad: `sasoflo (teritoriul) TemebSi gaerTianebuli Tavisufali miwaTmoqmedni _ eri, romelic amave dros jaris
(saxalxo laSqris) ZiriTad birTvs Seadgens, da samefo xelisuflebis mier damonebuli gvarovnuli Temebis mosaxleoba _ glexni
(yauxCiSvili, 1957:128). antikur qarTlSi mudam arsebobda miwaTmoqmedTa es fena da SemTxveviTi ar aris, rom termini glexi
`memkvidreobiT gadaeca monaTmflobeluri qarTlidan feodalur qarTls, rodesac igi gamoyenebuli iqna srul feodalur
damokidebulebaSi myofi (yma-glexoba) Tavdapirvelad mcire, xolo Semdeg friad mravalricxovan miwaTmoqmedTa fenis
aRsaniSnavad~ (meliqiSvili, 1959:419). e.i. miwaTmoqmedi amuSavebs sxvis miwas da miwis patronis morCilebaSi imyofeba. ufro metic:
xevsureTis magaliTiT Tu vimsjelebT, SeiZleba, `calkeul Temebs Soris warmoebuli gamudmebuli omis pirobebSi, erTi Temi
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imorCilebda meores da mis saymo-saglexod gadaiqceoda. Tumca ekonomikurad damorCilebuli Temi inarCunebda Tavis Sinagan
TviTmmarTvelobas, magram valdebuli iyo, yovelwliurad eZlia gadasaxadi gamarjvebuli TemisaTvis da xSirad SromiTi begarac
moexada. zogjer SedarebiT susti Temi nebayoflobiT Sedioda ufro Zlieri Temis mfarvelobis qveS da emorCileboda mas~ (iqve:
419). es migvaniSnebs, rom sasoflo-sameurneo samuSaoebSi Cabmuli glexoba yovelTvis Tanabari uflebiT ar warmarTavda Tavis
Sromas da xSirad samefo xelisuflebis an SeZlebuli piris (Temis) sasargeblod muSaobda, rac eqspluataciis garkveuli forma
iyo. marTebulia biuxeris mosazreba, rom `viTarebis Sesabamisad icvleba Sromis Tanmxlebi simReris Sinaarsic, rodesac
mSromeli nebayoflobiTi urTierTdaxmarebis principiT muSaobs, simReraSi igi gamoxatavs uxvi mosavliT gamowveul sixaruls,
anda oxunjobs megobrebTan, xolo saRalo muSaobis SemTxvevaSi, misi simRera siZulviliTaa gamsWvaluli mCagvrelis mimarT, anda
uiRblobiT gamowveuli sevdiT~ (iqve:P228).
ramdenad SesaZlebelia, nadur simReras gaevlo ganviTarebis gza erTxmianobidan oTxxmianobamde? gavixsenoT zigfrid
nadelis sityvebi: `mamakacTa koleqtiuri musicirebis es gabatonebuli forma ar warmoadgens mxolod ubralod musikalur niSan-
Tvisebas. aq gamoixata xalxis mTeli specifikuri cxovreba, erToba, koleqtiurobisaken Zlieri miswrafeba... saqarTvelos
erovnuli musikis amsaxveli sagundo simRera damuSavebis motivebiTa da formebiT dakavSirebulia im erovnul faqtorebTan,
romelebic xalxis cxovrebis koleqtiur momentebs asxavs: RvTismsaxurebas, Temobis tradiciul-ceremoniul wesebs, Tesvasa da
mosavlis aRebas, cekvasa da lxins, romlebic saqarTveloSi erTdroulad warmoadgens rogorc mamakacTa tradiciul Sexvedras,
aseve politikur Tavyrilobasac~ (nadeli, 1933:78). Cven savsebiT viziarebT am azrs da amitom migvaCnia, rom yovlad SeuZlebelia
odesme qarTuli naduri simRera erTxmiani yofiliyo. amis sabuTs ar gvaZlevs arc Sromis im saxeobaTa arseboba, romlebic
Sesrulebis nadur formas ukavSirdeba da arc saqarTveloSi uxsovari droidanve arsebuli xalxuri musikaluri tradicia.
xelaRebiT SeuZlebelia uarvyoT saqarTveloSi erTxmiani Sromis simRerebis arseboba, magram isini individualur Sromas
ukavSirdeba da, amdenad, nadur simRerebad ar klasificirdeba. SeiZleba migviTiTon TuSeTsa da mesxeTSi SemorCenil gundur
erTxmianobaze, magram am kuTxeebSi ar Cawerila koleqtiur SromasTan dakavSirebuli arc erTi simRera.
dasasrul, SeiZleba davaskvnaT: naduri simRerebi farTod iyo gavrcelebuli monaTmflobelur saqarTveloSi da
miwaTmoqmedT _ glexebs _ ekuTvnoda. amaze adre maTi Camoyalibebuli saxiT arseboba gamoricxulia, ramdenadac Sromis nadur
formaSi gamoxatulia klasobrivi urTierTdamokidebuleba _ klasobrivi SemWidroebulobis faqtori.
44
gamoyenebuli literatura
1. amiranaSvili, Salva. (1944). qarTuli xelovnebis istoria. Tbilisi: saqarTvelos ssr mecnierebaTa akademiis gamomcemloba.
2. arayiSvili, dimitri. (1927). qarTuli musikis guruli Sto. JurnalSi: qarTuli mwerloba, #10.
3. aslaniSvili, Salva. (1950). qarTl-kaxuri sagundo simRerebis harmonia. Tbilisi: saxelgami.
4. aslaniSvili, Salva. (1954). narkvevi qarTuli xalxuri simRerebis Sesaxeb. Tbilisi: xelovneba.
5. axobaZe, vladimer. (1961). qarTuli (aWaruli) xalxuri simRerebi. baTumi: saxelmwifo gamomcemloba.
6. bagrationi, vaxuSti. (1941). aRwera samefosa saqarTvelosa. Tbilisi, stalinis saxelobis Tbilisis saxelmwifo universitetis
gamomcemloba.
7. batoniSvili (bagrationi) ioane. (1944). kalmasoba. t. I. Tbilisi: saxelgami.
8. inaiSvili, aslan. noRaideli, jemal da CxikvaZe, grigol. (1961). masalebi aWaruli musikaluri folkloridan. baTumis
samecniero kvleviTi instituti. Tbilisi: saqarTvelos ssr mecnierebaTa akademiis gamomcemloba.
9. lamberti, arqanjelo. (1938). samegrelos aRwera. Tbilisi: federacia.
10. makalaTia, sergi. (1941). samegrelos istoria da eTnografia. Tbilisi: saqarTvelos mxareTmcodneobis sazogadoeba.
11. mamalaZe, Tamar. (1962). Sromis simRerebi kaxeTSi. Tbilisi: saqarTvelos ssr mecnierebaTa akademiis gamomcemloba.
12. maCabeli, daviT. (1864). qarTvelTa zneobani. JurnalSi: ciskari, maisi.
13. meliqiSvili, giorgi. (1955). saqarTveloSi klasobrivi sazogadoebis da saxelmwifos warmoqmnisaTvis.
saqarTvelos ssr mecnierebaTa akademia, iv. javaxiSvilis sax. istoriis instituti. Tbilisi. saq. ssr mecnierebaTa akademiis
gamomcemloba.
14. mefe arCili. (1960). saqarTvelis zneobani. Cveni saunje, t.IV. Tbilisi: nakaduli
15. mroveli, leonti. (1942). qarTlis cxovreba (anaseuli nusxa). simon yauxCiSvilis gamocema.
16. mroveli, leonti. (1955). qarTlis cxovreba, t.I. simon yauxCiSvilis redaqciiT. Tbilisi: ganaTleba.
17. msxalaZe, ali. (1969). aWaris saojaxo-sawesCvulebo poezia. baTumi: sabWoTa aWara.
18. noRaideli, jemal. (1940). aWaris xalxuri sityviereba. wigni meore. aWaris mxareTmcodneobis samecniero biuro. baTomi:
aWaris saxelgami.
19. noRaideli, jemal. (1967). aWaruli zepirsityvierebisa da eTnografiis masalebi. saqarTvelos ssr mecnierebaTa akademiis
baTumis samecniero-kvleviTi instituti. Tbilisi: mecniereba.
45
20. plexanovi, giorgi. (1956). Txzulebani, t.XIV.
21. faliaSvili, zaqaria. (1908). mogzauroba kaxeTSi da qarTuli saxalxo simRerebis dRevandeli mdgomareoba. gazeTSi: amirani,
#150.
22. qarTlis cxovreba. xelnawerTa institutis xelnaweri, Q 207.
23. yauxCiSvili, Tina. (1957). strabonis geografia. cnobebi saqarTvelos Sesaxeb. (al. gamyreliZis redaqciiT). Tbilisi:
saqarTvelos ssr mecnierebaTa akademiis gamomcemloba.
24. Ciqovani, mixeil. (1938). qarTuli folklori. Tbilisi: saxelgami.
25. Ciqovani, mixeil. (1952). qarTuli xalxuri sityvierebis istoria. Tbilisi: samecniero-meToduri kabinetis gamomcemloba.
26. CxikvaZe, grigol. (1948). qarTveli xalxis uZvelesi samusiko kultura. Tbilisi: saq. ssr musikaluri fondi.
27. wulaZe, apolon. (1939). eTnografiuli guria. JurnalSi: mnaTobi, #3.
28. javaxiSvili, ivane. (1938). qarTuli musikis istoriis ZiriTadi sakiTxebi. Tbilisi: federacia.
29. javaxiSvili, ivane. berZeniSvili, niko da janaSia, simon. (1943). saqarTvelos istoriis saxelmZRvanelo saSualo skolis
ufrosi klasebisaTvis. saqarTvelos ssr mecnierebaTa akademiis istoriis instituti. Tbilisi: saq. ssr saxelmwifo gamamcemloba.
30. jambakur-orbeliani, aleqsandre. (1861). iverianelebis galoba, simRera da RiRini. JurnalSi: ciskari, Tebervali.
31. janeliZe, dimitri. (1948). qarTuli Teatris xalxuri sawyisebi. saqarTvelos saxelmwifo Teatraluri muzeumi. Tb. saxelgami.
32. janeliZe, dimitri. (1965). qarTuli Teatris istoria uZvelesi droidan XVIII saukunemde. Tbilisi: gamomcemloba literatura
da xelovneba.
33. Бюхер, Карл. (1923). Работа и ритм. Москва: Новая Москва.
34. Грубер, Роман. (1941). История музыкальной культуры. ч. I. Москва-Ленинград: Музгиз
35. Меликишвили, Гиоргий. (1959). К истории древней Грузии. СССР. Ин-т истории им. И. А. Джавахишвили. Тбилиси : Изд-во Акад. наук Груз. ССР [вып.
дан. 1960].
36. Gogichaischvili, Filipe.(1901). Das Gewerbe in Georgian (xelosnoba saqarTveloSi). laipcigSi am Temaze daicva sadoqtoro
disertacia. daibeWda germaniaSi _ tiubingenSi.
37. Нордман, Александр. (1838). Путешествие по Закавказскому краю.. Санкт-Петербург, журнал Министерства народного просвещения, Октябрь. ч. XII.
38. Nadel, Zigfrid. (1933). Georgishe Gezange. II Kapitel. Berlin: Lautabt.
46
Preface
The scope of scientific interests of Otar Chijavadze, renowned Georgian ethnomusicologist, music historian and Merited Art Worker was very
broad: collection of Georgian folk music examples, compilation of music collections and lexicons, research of Georgian professional music, Georgian
musical instruments and instrumental music...
Chijavadze had particular, close relation with the House of Folk Art (today's Folklore State Centre). This is why two of his works have been found
at the archive of the Folklore Center: Dictionary of Georgian Folklore and Labor Songs of West Georgia. The former was published by the Folklore
State Centre in 2009 under the title Small Encyclopedic Dictionary of Georgian Folklore, With the participation of the Centre's specialists (Baia
Asieshvili and Nana Valishvili); the State Museum of Georgian Folk Song and Musical Instruments published O.Chijavadze's very interesting work
Musical Instruments in Old Georgia.
The scholar's "Labor Songs of West Georgia" was preserved in the archives of the Folklore Center for 50 years. This thick collection includes the
songs of different complexity and artistic value recorded in different parts of West Georgia 60-70 years ago. Publication of this collection has been on
the agenda many times. However, for unforeseen reasons, this has not been possible until now.
The technique of the 1960s-1970s did not allow for quality recording, multiple repetition, stopping, deceleration and acceleration of the same
fragment, which was necessary for notation. Accordingly, it was necessary to compare the notated examples with the audio recordings; as a result, it
became necessary to make new transcriptions of the audio material.
Chijavadze's collection comprises 40 labor/naduri songs (naduri is the song which accompanies nadi – one of the oldest forms for labor
organization, based on the principle of mutual assistance). Unfortunately, the audio recordings of 15 examples were not found at the archive of
Georgian Folk Music Direction of Tbilisi Conservatoire. Accordingly, this collection includes 25 examples with our notations (L.V), as well as the
edited (B.A.) research and author's preface. The publication is supplied with Aleksi Machavariani's brief introduction and calligraphy signature.
In future, the audio recordings of 15 naduri songs may be discovered in any archive, and be published as a separate collection.
This collection is dedicated to the 100th anniversary from Otar Chijavadze's birth.
Levan Veshapidze
Ethnomusicologist
Head of Chanting Direction at the
Folklore State Centre of Georgia
47
From the editor
In Georgian folk music art labor song is one of the richest and diverse genres, which always adorned and cheered Georgian man's life. It is
impossible to imagine any branch of labor without singing. Reaping, scything, ploughing, winnowing, harvesting corn, picking and pressing grapes,
digging..... is always adorned with the grace of folk song.
Labor song is as diverse as other genres and varieties of Georgian folk music. But the collective labor songs prevalent in Georgia, known as
naduri deserve special attention and arouse admiration.
Nowadays, the nadi tradition has sunk into oblivion and naduri songs are also overshadowed. This is why it is urgent to record, immortalize,
compile them and publish as collections.
We are delighted with the publication of his collection "Labor Songs in West Georgia", which comprises forty examples of labor songs (naduri)
from West Georgian provinces of Adjara, Guria, Imereti, Samegrelo, Lechkhumi and Svaneti. The collection comprises only a part of the material that
the author collected in the expeditions to the afore-mentioned parts of Georgia during 20 years.
This material also draws attention as it presents unique polyphonic examples of the world music: four-part naduri songs from Adjara and Guria –
the confirmation of Georgian people's talents, intellectual skills and high performing arts.
In the appendix, the author identifies the performers of the brilliant examples included in the collection, which is of great importance for
contemporaries and posterity.
The recordings of labor songs are preceded by a very extensive essay, in which the author convincingly tells about the organization, emotional
and spectacular sides typical of nadi, their meaning, rules and place in Georgian people's life mode. He familiarizes us with common structure,
organization, typical musical regularities and inner polyphony nature of naduri songs, as a genre.
In the third chapter of the work, basing on proper scientific analysis, the author tries to ascertain the time of the songs' origin, in this regard his
conclusions are quite convincing.
Otar Chijavadze's work "Labor Songs of West Georgia" is an important acquisition for Georgian folk music studies. It includes some very
interesting music material, is written in proper Georgian language, is based on quite convincing scientific research, and so, can be of great benefit to
students and youth, specialists and a wide circle of readers interested in learning and studying native music art.
The polyphonic forms of western Georgian folk music, their sound, common feature, general Georgian aesthetics and explicit national character
clearly indicates that it is common to Georgian polyphony for all regions of the country and is an important part of national vocal treasure.
Aleksi Machavariani
48
From the author
Labor songs are one of the most important genres of Georgian folk music. Georgian people safeguarded these wonderful examples for centuries
and brought them to this day, as the chronicle of the nation's intangible culture of spiritual endurance, struggle and work.
Labor songs were created in the lower stratum of society, who carried whole burden of the labor process on their shoulders, and accompanying
songs largely reflect the mood and activity of this stratum; its democratic character may have determined the fact, that old Georgian literature, where
aristocratic layer largely prevailed, paid less attention to labor songs.
Neither King Tamar's chronicler Basili Ezosmodzghvari (12th c.), nor the poet-king Archil (17th c.) mention labor songs anywhere. More
important, in this respect, is Ioane Batonishvili's (18th c.) "Kalmasoba", which directly states: "reaping is accompanied by the verses told as a sort of
song" (Ioane Batonishvili, 1944L 295).
Also noteworthy are the notices of Davit Machabeli and Aleksandre Jambakur-Orbeliani. In the essay, "Chanting, Singing and Humming of the
Iverians" Jambakur-Orbeliani confirms the following kind of labor songs: 1) Vineyard song; 2). Song for washing the kvevri; 3) for pressing grapes; 4)
for building a house; 5) for ploughing; 6) for harrowing the ground; 7) for reaping the corn-field, sharpening the sickle; 8) for bringing sheaves; 9) for
threshing the threshing-floor; 10) for winnowing the harvest; 11) for going to work and back in an ox-cart (Tsiskari, 1861:February).
Davit Machabeli grouped Georgian folk songs according to types: ghighni, mgosnoba, orovela aka meurmuli, zari, kheuri. But he is not satisfied
with this and also indicates the names of separate songs, more precisely: "Chonguri", "Qurshao", "Gvibrdzane", "Javakhuri", "Tushuri", "Gogona",
"Mzeshina", "Samaia", "Perkhisa" i.e. "Perkhuli", "Mushuri" and "Hopuna", as well as "Maqruli" (Machabeli, 1864: 54).
This information is even more interesting because it specifies the names of some songs.
Georgian labor songs are diverse; in this diversity particularly noteworthy is a group of naduri songs of collective labor. These songs,
distinguished in high artistic value, are mainly disseminated in West Georgia, namely in: Adjara, Guria, Imereti, Lechkhumi and Samegrelo. Among
naduri songs there are some four-part examples – an unusual occurrence in the world musical practice. Therefore, it is natural that Georgian labor
songs have attracted the attention of foreign scholars. It is enough to recall the world-famous names: Archangelo Lamberti, Siegfried Nadel, Carl
Bucher, Robert Lach, Jacques François Gamba, Jules Mourier, and others, who have played an important role in their study.
Naduri songs are common in certain areas of Georgia. As Jemal Noghaideli notes, "Nadi could be invited for sowing (hoeing) or weeding corn,
but only for sowing millet. Nadi was never invited for weeding millet and rice, for being unprofitable. Weeds were removed mainly by hand, rather
than a hoe" (Noghaideli, 1967: 16-17)
49
When describing Gurian songs Alexander Nordman points: "Songs of the Gurians are pleasant and diverse, most of them are performed by
different voices and choirs..... The song related to land cultivation is called Naduri, the song which accompanies reaping is Khelkhvavi, the one for
picking grapes - Ha, gideli (Nordman, 1838: 436). Referring to Khelkhvavi as a reaping song must be something of a misunderstanding.
The list of labor types can be expanded, given that nadi is used for the activities such as: shucking corn, picking millet, etc. It should be noted,
that, although "Elesa" is not a corn-field song, it can also be sung in the corn field.
Thus, our discussion area encompasses a wide group of songs, which are closely linked to the particular type of collective labor in West Georgia
and which can be called naduri songs, in general. Present work chiefly bases on the musical materials collected by our expeditions to different parts
of West Georgia at different times: Tsageri (July of 1955 and 1971), Lentekhi (July of 1956 and 1971); Zugdidi (July, 1959); Tsalenjikha (August,
1959); Gegechkori and Khobi (July, 1960), Mayakovsk (July, 1961); Zestaponi, Terjola and Tqibuli (July, 1962); Sachkhere (July, 1963); Lanchkhuti
(August, 1964); Chokhatauri (July, 1965); Makharadze (July, 1966); Keda and Kobuleti (August, 1969), and Gali (July, 1970). At various times among
the expedition members were: Givi Lortkipanidze – a senior lecturer of Tbilisi State Coservatoire; Dodo Rukhadze and Meri Choghoshvili – post-
graduate students; Guram Shvelidze – a technician of the sound recording studio; Luiza Abuladze, Vazha Azarashvili, Davit Balanchivadze, Lina
Begishvili, Tariel Beradze, Natela Bitskinashvili, Jemal Busurashvili, Vera Gavrilidi, Mzia Geladze, Durmishkhan Goderdzishvili, Elguja Egetashvili,
Lali Vardanashvili, Izolda Zakaraia, Guranda Zoidze, Menuli Topuria, Vazha Kardenakhishvili, Solomon Lapauri, Natela Lortkipanidze, Evgeni
Machavariani, Nato Moistsrapishvili, Merab Odisharia, Namtsetsa Oragvelidze, Tsiala Papiashvili, Sergo Zhvania, Vano Zhghenti, Ermaloz Sarishvili,
Medea Kelbakiani, Rusudan Kutateladze, Mzia Ghvedashvili, Izolda Ghonghadze, Aleksi Shanidze, Izolda Chakaberia, Liziko Chijavadze, Natela
Chikhladze, Karlo Chukhrukidze, Lia Khugashvili, Manana Khutsishvili – the students of Tbilisi State Conservatoire; Nino Gvelesiani, Mzia
Durglishvili, Gia Palavandishvili, Meri Ghvedashvili – Art students of Tbilisi State University: and Guram Sagharadze – a teacher of Batumi Music
School.
We collected over 950 songs of various genres; but considered it inexpedient to use the entire material. Moreover: the scope of labor songs -
main theme of the present collection, has also been somewhat restricted and limited to only 40 typical examples, which allowed us to draw some
conclusions.
We thoroughly reviewed and analyzed the scientific literature on the discussed subject, and also considered the existing recordings of labor
songs.
If this collection further enhances the public interest towards differrent types of collective labor songs from West Georgia our goal will be
achieved.
In the end, it is our honorable duty to thank the performers, who with their unselfish support and goodwill, contributed in every way to the
successful work of the expeditions, especially to the masters of folk song – Kamil Takidze and the late Shalva Makharadze.
50
Chapter I
Nadi and its accompanying song
Rich and diverse folk art of the Georgian nation has preserved songs and entertainment-games directly related to different processes of farming,
agricultural life and labor. In this regard, special attention is paid to the songs of collective labor. Collective labor in Georgia has a long history and
nadi should be considered its traditional form. The necessity for nadi arose primarily from the demand for the increase in labor productivity and
concomitant productivity of collective labor. As Carl Bucher points, "inviting nadi is primarily determined by the fact that from time to time there is a
need to do some work in agriculture, on the other hand, many agricultural works are too urgent" (Bucher, 1923: 227).
Nadi form of labor is widespread throughout Georgia (in East Georgia it is called mamitadi), but it is particularly characteristic of Guria, Adjara,
Samegrelo, Imereti and Lechkhumi.
Currently, nadi tradition has been forgotten, but its accompanying songs (naduri) and separate descriptions of naduri labor have survived to the
present day, allowing to fully describe and shed light on its essence. It can be said that the notion naduri unites all the songs associated with
collective labor in West Georgia.....
Italian traveler Archangelo Lamberti confirms the existence of nadi in Samegrelo: "He who has already sown the corn field and is going to hoe it,
invites for help those whose corn field is not yet ready for hoeing, and whom others will help in its time. Since this hard labor must be borne by man
in terrible heat, to facilitate it they invented such a thing: nadi, singing and abundant food, served by the land owner. Nadi often comprises 50 or 60
ordered hoers. To cheer them up, the owner of the corn-field joins the group at the top of the row and works just like the others do. The song that
follows nadi was invented not only to encourage this joyful gathering, but also to make them work quickly. For this they have particular song to which
they set up hoeing like a dance to an instrument: they accelerate hoeing as much as they do singing. For this, two singers stand at the head of the
corn field and start singing. These leaders receive more food for helping others speed up hoeing. They have a lot of food, as this is the only cost for
their labor. Food is delivered to the corn field three times during the day. At dusk, dinner is served in the field owner's house. At this time, they avoid
all thoughts about work; they spend time until midnight eating, drinking and singing. What a wonderful sight to see when they finish hoeing at the
sunset and go to the field owner's house, with hoes on the shoulders, like soldiers; 6 or 8 pairs walk slowly, with singing and proudly enter the host's
yard" (Lamberti, 1938: 51-52).
Carl Bucher also describes the tradition of inviting nadi in Guria: "Nadi tradition is widely spread in Georgia. Specially invited close and distant
neighbors get together to do the necessary work free of charge for the host family. Usually this happens in the case of work that cannot be delayed.
For example: picking grapes, sowing millet, sowing and reaping wheat, cutting firewood and taking it out of the forest. The host serves hot food to
the workers twice a day, which women bring to the corn field as lunch around 11 o'clock and in the afternoon from 3 to 4 o'clock. Work ends
51
immediately after the sunset and everyone goes to the host's house with singing; where they all have dinner together. Obviously, the host who does
not want to shame does his best to do everything correctly. Everyone is served wine separately, but drunkenness is very rare. After dinner, the nadi
workers go home with their hoes and / or other instruments" (Bucher, 1923: 197-198).
Basing on Pilipe Gogichaishvili's work "Das Gewerbe in Georgia" ("Craft in Georgia") Bucher notes: "Field work is usually accompanied by
singing: there are special works that are closely linked to singing, first of all these include hoeing at night. Millet is, predominantly, sown throughout
West Georgia; it is weeded twice at different times. This labor – help – is called nadi in Georgian, and the songs performed at this time are naduri
songs. Naduri is sung very loudly and strongly, so that the singing can be heard from afar.".....They usually start at a very slow tempo – the rhythm
of the song coincides with hoe strikes.
But the more time passes the faster the song goes, and with it the process of labor accelerates. This job is quite exhausting, but workers do not
feel tired while singing. I have noticed that at the end of the song they work faster than at the beginning. Of course, such tension cannot be
sustained for a long time, and, when the singing gets fastest, it ends. This is followed by a short or longer break when they work at normal speed or
even slower until the singing starts again" (ibid. 198). Carl Bucher also refers to the Georgian scholar: "In Georgia, a wooden house is often moved
from one place to another with levers and bearings. For the simultaneous movement of levers and bearings and the united effort, the workers call
(antiphonally, ed.): e-le-saaaa! – aa-haaa!" (Ibid. 199). This is obviously about performing labor song Elesa.
From the afore-mentioned descriptions of naduri songs by the authors from different centuries we see that the traditions preserved in Guria and
Samegrelo do not substantially differ from each other, they both have one purpose - mutual help. But this is not the only meaning of nadi, the form of
collective labor. It has no less important other side, about which Carl Bucher writes: "In fact, nadi does not help the host without compensation, as he
must pay back with his help; besides, hosting is not very cheap. If this tradition has lasted for decades and has become so widespread, this proves
that such a means of labor is economically more profitable than single-handed labor.....
Public work encourages people, excites a sense of competition, raises humor, creates a high mood, and speeds up the work. Choral singing
evokes a sense of community" (Ibid: 127).
"Nadi, which comprises many elements of singing and entertainment to encourage labor, has a purely agricultural purpose..... Nadi had a
solemn tint, its own vocal repertoire, spectacles and organizational order. Especially important in nadi was singing, which, as Boucher correctly
points, was the means for organizing the labor process, encouraging and stimulating the workers" (Janelidze, 1948: 34). Moreover: naduri song was
also a means for generating work habits and organizing the labor process.
A Gurian may not even need nadi in his corn field, he could do that himself, but if the family was not in grief, they would gladly welcome
working in the corn field with naduri- singing, even if this nadi and their hosting would cost them more than the job they did. Nadi and naduri song
was an entertainment for workers and peasants: feast, peasant banquet, the hymn of work and victory linked with the greeting of spring...... They
52
were as happy to go to nadi as to a wedding. Invitation to nadi was considered respectful. The impact of naduri song was determined not only by the
circle of its performers. - .......all workers were delighted to hear a corn field song (good singing was heard four kilometers away, workers of adjacent
fields and in the neighborhood were also grateful, because they worked with more joy that day. Sometimes, a neighbor also had nadi at the same
time. The song was performed in turns, one team took break, the other sang, not only the workers in adjacent fields, but also villages linked their
singing (Tsuladze, 1939: 186).
How important song is for nadi, can be seen from the fact, that singer's 1- day assistance was equal to 2 days, on the other hand, the number of
nadi was determined by the number of singers: one-group nadi comprised 8-12 singers, two-group nadi - 16-24. Gurian corn-field song was
antiphonal and needed 8 people: two mtkmeli (beginners), two gamqivani and four shemkhmobari (bass).1
Singing accompanied hoeing (sowing) and weeding (digging)...... The song began very slowly, gradually moving from stanza to stanza, the
stanza shortens and the tempo of the song develops in accordance with it, enlivens, and when (20-30 minutes after the song starts) it moves to yo-
yo-yo, coincides with the hoe strike; so fast that you can barely see the hoe, both singers and non-singers follow the tempo of the song with their
hoe strikes, everyone must follow the beat, disorganizer will be allotted a row separate from the group" (ibid., 182-183). Imeretian naduri was also
sung antiphonally by 8 peoplealtogether: four basses, two gadamtani (second parts. Ed.) and two tsvrili. In Adjara 12 people were needed to sing
naduri: one mtkmeli, who tells the verse, two shemkhmobari, one gamqivani and two basses – in each choir (Javakhishvili, 1938: 81).
Carl Bucher also confirms antiphonal performance of naduri song: "We can imagine whole community of workers divided into two groups or
choirs; one group sings first verse in three voice-parts, each voice with different exclamations, then first group sings second line a little faster, with
new exclamations for each voice-part: then the second group does the same and so forth each of 5 lines. At the same time, they represent 5 steps of
rapidity in the labor process. Then the whole group performs a short singing verse, as a result, each team performs only exclamations three double
lines" (Bucher, 1923: 199).
Antiphonal performance of naduri songs is also confirmed by the music material at our disposal, this is why of great interest is Mikheil Chikovani's
information: "When performing the song, nadi can be divided into 2 or even 3 groups depending on the number of workers. The song moves from
the first choir to the second and third choirs; finally back to the first and so on. In terms of performance there is no difference between the choirs, nor
does the repetitive overall performance take place like the Gurian" (Chikovani, 1938: 109).
Here the scientist characterizes Lechkhumian naduri, it should be noted, that independent of where it belongs; if we judge by the available
musical material, three-choir performance of the song is confirmed only in Meskheti by composer Valerian Maghradze, but not in labor process, but
in table songs; and in Tushetian ceremonial songs by Baram Baramidze.
1 As far as musical practice has proven the existence of four-part naduri songs in Guria, the afore-mentioned information about Gurian corn-field song needs specification.
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"Different kinds of corn field songs were performed according to time: a) Dilis (before starting work in the morning), b) Tserodia (at lunchtime, at
noon), c) Shektseula and d) upon finishing labor – they sang Elesa, with the ending which reminds of military attack, a heroic, masculine offensive
march and ends with the cry of victory" (Tsuladze, 1939: 183).
The same can be said about Adjara, where the repertoire of naduri songs performed during the day is quite clear. Namely: Between morning and
dinnertime: Mshvidoba, Dilis simghera, Mtas khokhobi aprenila; between dinner and suppertime: Sajavakhura, Tetri kori chandaraze, Kali viqav
aznauri, Qaranai; between supper and evening: Lela, Tsalbura, etc.
According to Sergi Makalatia in Samegrelo hoeing of the corn field was accompanied with Oqonuri, Odoia-do, Khemkhvai, etc. Shucking of corn
was accompanied with Ocheshkhvei, Khvarieli, etc. (Makalatia, 1941: 186).
Jemal Noghaideli describes the types and rule of nadi performance in Adjara: "Up to 3 dozen naduri songs could be performed during the day. In
doing so, nadi not only increased the productivity of labor but it also was a spectacle and entertainment. Nadi was often attended by non-participants
– lovers of song. Nadi often was a competition in singing and knowledge of songs: mtkmeli competed with another mtkmeli, gamqivani with another
gamqivani, shemkhmobari with another shemkhmobari, bass with another bass and singing became more interesting and attractive.
From morning to evening, the singers competed in the knowledge of songs, in the evening, they competed in loud singing.
Singing started in the morning, one group started, when they finished second group continued, then the third one and so naduri accompanied
the labor process in the corn field. When Khelkhvavi is sung, all sit, and a dancer can get up and dance (Noghaideli, 1967: 42, 86).
The afore-mentioned shows that nadi was not only a form of labor organization, but also an entertainment, spectacle. Labor directly segued into
singing. In this regard, particularly noteworthy are the naduri songs – Ocheshkhvei and Khelkhvavi – accompanying shucking of corn and moving a
heavy load.
As A. Eliashvili from the village of Khevi (Chokhatauri district, ed.) noted Elesa accompanied the process of bringing a tree trunk for winepress
from the forest, which ended with dancing. It seems that dance had a magical function in labor songs. But whatever it was, it's clear: spectacular side
added attractiveness to naduri labor.
The issue of labor and entertainment is well known and has a long history. Many scholars have touched upon this issue, namely: Edward Taylor,
Wilhelm Wundt, Carl Bucher, Karl Gross and others. Main objective of their research was to identify primacy between labor and entertainment.
Despite the great efforts and merit, these researchers could not access the essence of the events. They forgot that game is a higher step of
ideology, as far as not the actual fact of collecting or hunting is concerned, but depiction of collecting and hunting process in relation to a truly non-
existent subject" (Gruber, 1941: 10).
Basing on the discussion and an in-depth analysis of ethnographic material, Giorgi Plekhanov shed light on the earlier origins of labor than of a
play in public life: "We will understand absolutely nothing from primitive art history unless we believe that labor is more ancient than art and, a
human, first and foremost, sees events and things with a utilitarian eye and only then is he guided by the aesthetic standpoint in his approach"
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(Plekhanov, 1956: 73)2. This is why quite fair is Dimitri Janelidze's conclusion: "The need to increase labor productivity gave birth to naduri songs:
the aesthetic significance of these songs, their entertaining power, was tempered and matured in the process of labor" (Janelidze, 1948: 48).
Participants of nadi are both singers and ordinary workers. Ordinary workers are hired to only do the job. But they often join singing towards the
end of the song. Three main stages of labor process are clearly felt in nadui songs, which had a peculiar effect on the form of the song itself. The
first stage is characterized by a slow tempo; the melody makes nadi feel the same way, but not rhythmically, but with a focus on the content of the
song lyrics. A new mood is introduced into the song at the end of the first stage of the labor process. Even though the second part of labor differs
from the first one in terms of music and tempo, there is an organic connection between them: sustained sounds of shemkhmobari is the link between
the first and second parts, until the tempo gradually accelerates in the third part. In the second part the melody is simplified, as all the attention is
focused on the rhythm of the work. If verbal text was the center of gravity in the first part, this time it is almost completely excluded. With the second
part there begins a kind of competition between choirs and individual performers. Singing becomes so violent, that it gradually loses accuracy in
intoning, and slowly goes up. At this time, organizers of naduri song – shemkhmobari – play a big role in maintaining the height. The third part is
completely different from the other two in musical material, but it is an organic continuation of the second part. It is performed in a very fast tempo
and involves all participants of nadi into united labor. At the end of the song, all the workers join the singers and their common screams mark the end
of labor and singing.
As Vladimer Akhobadze justly points "Naduri songs are characterized in peculiar performance, close connection of form and content, sharp
harmony, complex polyphony and structure, which is formed in complex three-part polyphony of unified development (Akhobadze, 1961: 32).
Apart from corn field, workers would also sing naduri upon completing the work, when they headed to the host's house for dinner.
According to Dimitri Arakishvili "Naduri is a purely Gurian song. With countless different forms; it is sung during hoeing and when returning
home from work. This is a long song and is sung for hours. It cheers the workers during hard work." (Arakishvili, 1927: 147).
We do not agree with Arakishvili's only statement that naduri is a purely Gurian song; because as we have already mentioned it is encountered in
almost all parts of West Georgia.
When discussing labor songs, Mikheil Chikovani points that according to origin these songs can be divided into 2 main groups: first group
comprises the songs in which there is no text-verse at all or which comprise only 'meaningless' shouts: an example of this is "Naduri" – widespread
in West Georgia. Basic shout of "Naduri" is the sound 'o' and common rhythm of labor is connected with it.
Second group comprises the songs in which a word or short verse and diffusive exclamations are closely related to each other, for example:
"Gutnuri", "Samkali", "Mtibluri", "Metivuri", "Sapeikro" and others. In terms of origin the first group precedes the second one. In the process of
2 Although this piece of work seems to have the traces of Soviet ideology, we leave it unchanged with small captions (Ed.)
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primitive collective labor, must have contributed to the origin of the songs which were related to the rhythm of labor and were perceived through
silent common shout. On the next stage words or a short verse was added to the shouts (Chikovani, 1938: 92). In another place, the scientist
specifies: "There are several kinds of naduri songs in different parts of Georgia: the ancient type has no words (Ibid: 109).
Later the author again touched upon the same issue: "in terms of development, the lyrics of our labor songs can be divided into two main groups:
the first is the group of songs, with underdeveloped lyrics/text or we deal with some kind of firm refrain, examples of this are "Naduri" widespread in
West Georgia and "Mtibluri" in East Georgia (Chikovani, 1952: 249).
There are two things to note here: first, "Mtibluri" belongs to the group of songs in which naduri is accompanied with words or short verse and
diffusive exclamations. But this is not the main thing: oral text is not a suitable criterion for the evaluation of a well-developed and highly-artistic piece
of music such as naduri. By the way, Jemal Noghaideli also notes: "Labor songs, in the form of naduri have survived to this day sometimes with the
so-called sustained wordless exclamations, which should be typical of the archaic stage in the development of verse. Wordless texts, or rather the
words incomprehensible to us, are abundantly used in naduri songs." (Noghaideli, 1967: 11). But his conclusions are about the development of verse
and not song.
Musical regularities should be mainly used for the evaluation of a song. To prove this, let's recall Carl Boucher' opinion: "As far as ancient labor
songs do not have invariable text, but it is improvised depending on time and circumstances, the verse cannot exist by itself. On the contrary,
musical element of ancient labor song, the melody becomes independent" (Bucher, 1923: 274).
But this situation is quite clear to Mikheil Chikovani, who directly indicates: "Along with the text Georgian naduri also contains a musical phrase,
in which, for instance in West Georgia first place is attributed to "wordless" complex sound. Each half-choir of the two choirs repeats this musical
phrase with incessant drone and the song is whole even when the leading figure doesn't tune the lyrics" (Chikovani, 1952: 247).
The afore-mentioned proves that verbal text is least important for determining the antiquity and value of the song and other factors need to be
considered, above all.
We consider it worthwhile to pay attention to several songs of a special nature. First of all, "Namgluri" related to reaping, which has survived in
Imereti.
Existence of the song related to reaping in West Georgia, particularly Imereti is not accidental: firstly, in many parts of Imereti, especially in
upper Imereti, wheat is still grown, secondly: in Georgia, especially in the West, corn culture was introduced later, in the 17th century, and replaced
the existing wheat culture. To this indicate not only scholarly works but also the unpretentious verses of the song:
Mikela and Gabriela made our threshing floor abundant
The barns were filled with wheat,
The winepress was filled with Chkhaveri, etc.
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But here is the other side of the issue: in terms of intonation "Namgluri" stands close to East Georgian, more precisely to Kartli-Kakhetian songs
and neither is it accidental: Imereti, especially its eastern regions, have historically always been closely associated with East Georgian culture, Kartli,
most of all.
Second group comprises the songs "Khelkhvavi" and " Ocheshkhvei" accompanying the process of shucking corn.
Zakaria Paliashvili notes musical merits of the song: "I have recorded one Gurian "Khelkhvavi" in which two totally different themes are so
masterly combined in one place, that you will immediately reminded of Bach's "Double Fugue" themes, this will amaze any European musician and
assure that Georgian people are highly skilled in the art of music, that have created such complex and original songs" (Paliashvili, 1908:#150). Dimitri
Arakishvili pays attention to the invisible power mentioned in the text of "Khelkhvavi": on whom the crops depend. This song is distinguished in quick
tempo of performance and cheers up the workers" (Arakishvili, 1927: 147).
Of course these observations are interesting, but now we will focus on the possible textual links of collective labor songs – naduri to the songs
of other genres. Since the themes of naduri songs are diverse, they can be divided into several thematic groups: ceremonial, domestic, heroic, love
and other" (Noghaideli, 1967: 11).
Certainly, only the genre of the verbal text cannot define the genre of a song as of a musical work. But the afore-mentioned two songs have a
decisive factor: both "Ocheshkhvei" and "Khelkhvavi" end with a round dance, which gives ritual character to them. And given the invisible power that
the verbal text indicates, we can conclude: in this case, ceremonial function appears in labor song itself. Thus, quite natural and just is Shalva
Aslanishvili's opinion" "Labor song should be regarded as:
Supplication to natural forces; the agrarian deity (on the early stage of development);
Assistance in the labor process;
Means for class rapprochement;
A way to create cheerful mood"
(Aslanishvili, 1954: 268).
Given this circumstance, it is quite logical to perform labor songs in everyday life: for fun, on holidays, and even during divine service (Bucher,
1923: 268).
Finally a few words about "Elesa". As we have seen, "Elesa" was performed during different types of hard work: when moving a house from
one place to another, during navigation, when bringing a wine press, when lifting heavy load, etc. When singing "Elesa" beginner of the song was a
narrator, leader of the work. The leader had to be especially careful not to miss anything, for he was not alone, he directed the process via singing:
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by order, by raising and lowering the voice, with exclamations and shouts he dictated to everyone when to take step, to bend, to stand straight. Here
they needed genuine collective unity and caution. Otherwise, one wrong move could lead to a fall from a cliff or to some other trouble. While the load
was in a dangerous place, "Elesa" was sung single-part. One person directed, but as soon as the load was moved to a safer place, it was sung more
merrily and cheerfully by two voices" (Tsuladze, 1939: 3).
"Here it is impossible to distinguish the work of an individual worker from the common labor. If, it was necessary to unite the workforce of a
certain number of workers, who acted together, they had to support the tempo of labor for economic as well as technical considerations" (Bucher,
1923: 41, chapter 3).
The song "Elesa", a means for organizing collective activity in the process of labor, is currently also sung during fieldwork and appears in the
role of naduri songs. However, by origin and nature they are different. About which we will talk below.
Most of the naduri songs in West Georgia are three-part. But two- and four-part examples are also encountered. Two-part labor songs are
mostly common for male and female performance in upper Adjara and Samegrelo (male performance – agricultural activities, female performance –
needlework).
Before we touch upon two-part labor songs, we consider it necessary to regard Ali Mekhaladze's opinion. In Adjaran family-cremonial poetry
Mskhalade touches upon the two-part nature of Adjaran groomsmen's songs and explains it as follows: "Adjaran wedding songs are two-part
especially in the mountainous parts. Here naturally arises the question: does this two-part singing reflect the stage when there was no three-part
singing in Georgian music or are we dealing with something else? Obviously, the answer to this question requires relatively more complete work,
study of the genres of Adjaran folk vocal and instrumental music and comparison of the results with the songs of the non-mountainous parts of
Georgia, where four-part examples have survived in their ancient form (Tusheti, Khevi, Pshav-Khevsureti). Therefore, some of the conclusions
based on the available material will be only assumption" (Mskhaladze, 1969: 83-84).
According to researchers, groomsmen's songs are two-part, because it is very difficult to sing tsvrili when walking: it is really very difficult not
only to sing modzakhili, but to sing it on the way. This is why groomsmen's song is rarely sung while walking" (ibid.: 84).
We consider all this discussion unsatisfactory. First of all, if "groomsmen's and table songs in Adjara used to be three-part", what conditioned
their decline? – was it easier to sing while walking in the past than today? Or maybe relevant are the reasons like those with Meskhetian songs –
domination of the Turks? But if that were so, could Adjara preserve the pearls of magnificent polyphony from Khulo to Kobuleti? Secondly, if it is
difficult to sing three-part groomsmen's songs while walking, why are they performed while walking in other parts of Georgia: Guria, Samegrelo,
Racha, Lechkhumi, Kartli, Kakheti and lower Adjara? Moreover: a widespread three-part song "Mgzavruli" (Travelers's song) is performed while
walking in Adjara. In addition, the two-part Tushetian, Mokhevian and Pshav-Khevsuretian groomsmen's songs have also survived in Imereti, and in
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general does not need upper voice-part. As for the Tushetian, Mokhevian or Pshav-Khevsuretian songs referred to by the author, are based on
completely different rules of development and have their own path of development.
Suppose, three-part performance of groomsmen's song is really difficult. Then what about four-part labor songs, which are not performed while
walking, but are quite logical and accomplished. It looks like two-part groomsmen's songs as well as two-part naduri songs express a certain stage in
the development of folk musical thinking.
Let's discuss some examples (only the examples of male naduri):
"Tokhnuri" ("Dikhazurga"). The song is constructed on the principle of varied couplet. The melody of dance character, bass – ostinato type,
song – antyphonal. Both choirs unite at the end.
"Qanuri" ("Tsoniarisi") – an antiphonal song, the melody – quite developed. Bass – less mobile in the beginning,
then sings ostinato melodic phrase, thanks to which the song acquires dance.
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Both songs are quite accomplished and with their qualities they are not inferior to West Georgian three-part songs. As for the latter ones, in
West Georgia they mostly base on one of the polyphony types – linear polyphony. In this case, bass is fairly mobile and has an independent melodic
look. But in Guria and Adjara there are three-part labor songs with sustained bass.
As Jemal Noghaideli writes, "Not all naduri songs are accompanied by bass in Guria and Adjara. Thus there are songs with and without bass.
When the song is not accompanied by bass, it is three-part. In this case the voice-parts are: mtkmeli, gamqivani and shemkhmobari (Noghaideli,
1940: 15).
When discussing the songs from Jikura cycle, Aslan Inaishvili, Jemal Noghaideli and Grigol Chkhhikvadze note, that Jikura can be four-part, in
which the bass is not the third but the fourth voice, and in this case bass is usually sung by third voice" (Inaishvili, Noghaideli, Chkikvadze, 1961: 11).
The same can also be said about other naduri songs.
From the afore-mentioned it appears that in West Georgia there two types of three-part labor songs: one – with high bass in the form of
shemkhmobari, the other – with accompanying low bass.
The songs of the first group are linked to four-part labor songs. Musical regularities of the second group are quite well-known, thus, it is not
necessary to discuss them separately. We will touch upon four-part naduri songs separately.
Chapter II
Four-part naduri songs
The existence of four-part naduri songs has been known since the 1930s. In 1938 Ivne Javakhishvili relied on Jemal Nogaideli's information and
in his fundamental work Basic Issues of Georgian Music History he noted: "Adjara in general, and Kobuleti district in particular, are famous for naduri
songs. Naduri requires 12 singers, at least 8 people. These are: one mtkmeli, the singer himself, who sings the verse, two shemkhmobari singers,
one gamqivani and two 2 basses. The song is sustained, here the singer starts singing, this is why he is called mtkmeli, he is followed by gamqivani
and shemkhmobaris finish the song. During singing bass is needed from time to time. So, naduri needs on one side: 1 singer – mtkmeli, 1
gamqivani, 2 shemkhmobaris and 2 basses (Javakhishvili, 1938: 81).
In 1940 in the second book of Folk Vocabulary of Adjara Jemal Noghaideli pointed: "In Guria and Adjara naduri songs are four-part and the
voices are: 1. Mtkmeli or singer, 2. gamqivani, 3. Shemkhmobari 4. Bass. By his observation not all naduri songs in Adjara and Guria have bass, i.e.
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there are songs with and without bass. Naduri song without bass is three-part and the voice-parts are: mtkmeli, gamqivani, shemkhmobari
(Noghaideli, 1940: 28).
Sadly, it was only 20 years later that these songs were recorded. When many excellent connoisseurs and perfomers of naduri songs were no
longer alive. However, certain number of four-part examples were documented in Guria and Adjara: in 1957-1958 by Grigol Chkhikvadze and
Vladimer Akhobadze; in 1964-1969 – by us.
The collected material is quite sufficient to provide the researcher with a clear idea about this wonderful genre of Georgian folk vocal art. All the
more that it received wide reviews in the scientific circles. We will try to come to a definite conclusion basing on the analysis of existing viewpoints, on
the one hand, and musical material, on the other hand.
The voices in four-part naduri songs are: tsvrili or gamqivani; mtkmeli or damtsqebi; shemkhmobari and bass. Speaking about high voice,
Vladimir Akhobadze notes: "in folk songs melodic movements of first voices and the names of voices led us to the conclusion that tsvrili, krimanchuli
and gamqivani should not be the same. The melody of each has its own distinctive characteristic features and they are used in different kinds of
songs. There are songs in which the melodic movements like krimanchuli should be performed, but it turned out that there are songs in which first
voice, krimanchuli or gamqivani are needed at various time. Besides, there are many songs in Guria and Adjara which require neither krimanchuli
nor gamqivani. For example, renowned Gurian singer Babilodze was an incomparable gamqivani. He would never sing krimanchuli. There were
famous krimanchuli singers, who could not sing gamqivani. As it turns out there was such a big difference between their melodies, that some
specialization of singers became necessary. In addition, both gamqivani and krimanchuli are mainly the voices of certain timbre, which create
decorative figuration" (Akhobadze, 1961: 16).
Obviously the author, clearly distinguishes first voice, krimanchuli and gamqivani in general, so it is quite natural for us to figure out what this
difference is.
When speaking about first voice or tsvrili the author notes: "Melody of the first voice is closely related to both modzakhili and bass, which is not
the case when krimanchuli or gamqivani replace the first voice. In this case krimanchuli or gamqivani will move one octave off modzakhili melody and
creates certain mood by ornamental figuration in high register........ Characteristic for gamqivani is the performance of rhythmically diverse
figurations on one or several notes in a very high register. After being repeated several times the melody intonation goes down and creates
accomplished melodic line. Sometimes, the melodic constructions typical for gamqivani do not differ much from the melody of first voice, in general
(ibid: 16-17).
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In our opinion, there is a kind of inconsistency here: if the melodic constructions typical for gamqivani do not differ much from the melody of first
voice, what right we have to claim that the melody of the first voice is closely related to modzakhili as well as bass, which is not the case when
krimanchuli or gamqivani replace the first voice. Is gamqivani generally closely connected with the other voice-parts of the song, or is it completely
independent? – This is the question. It cannot change its character without any regularity. This viewpoint is probably clear to the author who
acknowledges: "If krimanchuli is a certain form of melodic ornament, which can easily be shifted from one song to another or replace one variant with
another in the same song, gamqivani is devoid of such features because its melody is closely related to the intonation system of the song" (ibid.: 17).
We find it quite natural that the melody of gamqivani is closely linked to the intonation system of the song, but is this the only difference from
krimanchuli, is krimanchuli completely cut off from the intonation system of the song? The fact that this is so for the author is clear from the following
consideration: The existence of krimanchuli in songs is subject to some regularity. Krimanchuli is introduced in the song, only when low voice –
bass – performs developed melody, i.e. the bass loses the function of harmonious basis, and krimanchuli restores harmonious basis of the song in
peculiar harmonious figurations from above. Thus, moving the song's harmonious basis from one voice to another, especially the change in the
function of marginal voices, is one of the features of Georgian polyphony, in our opinion". On the other hand: if bass and shemkhmobari create
harmonious basis of the song by a prima and fifth, and these are support sounds for krimanchuli, naturally kimanchuli is a peculiar ornamental
appendage of the harmonious basis" (Akhobadze, 1961: 23). Here the author notes, that krimanchuli is an ornamental imitation of the harmonious
basis. If this assumption is correct, "In Gurian and Adjaran folk songs we should imagine three types of harmonious bases – low bass, high bass and
krimanchuli" (ibid: 23). Thus, it is quite clear that krimanchuli is organically linked to the whole construction of the song and the claim as if these
variants of krimanchuli can be shifted from one song to another, one variant can be replaced by another" – is completely unconvincing. Another
noteworthy thing: the study of Adjaran and Gurian songs led us to the conclusion that the melody of gamqivani is encountered in more typical forms
of naduri songs (ibid: 17).
There are cases, when melodic phrases characteristic of kimanchuli and gamqivani are merged as one whole. For example: in Adjaran naduri,
where only gamqivani participates, as high voice, krimanchuli intonations are often found along with the intonations typical for gamqivani. In such
cases (in ensembles or choirs) these two types of characteristic melody are performed by one singer instead of two. "Despite mixing the melodic
behavior of the two voices, we still distinguish characteristic features of krimanchuli and gamqivani, and so we discuss them separately. Combination
of melodic phrases characteristic of krimanchuli and gamqivani into one voice demonstrates high musical talent of the performers" (ibid. 17-18). It
turns out possible to perform intonations characteristic of these melodic phrases by one singer. Not long ago, the author categorically claimed that
famous singer Babilodze was an incomparable gamqivani, but that he never sang krimanchuli. There also were well-known krimanchuli singers, who
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could not sing gamqivani. It turns out that there was such a big difference in their melodies that some specialization of the singers was required.
There's a kind of misunderstanding here: thus, the highest voice, tsvrili, has its own function and of course, it is quite possible for different
intonations to appear in its melodic line, according to the intention of the work.
But there is another side of this issue. We mean Vladimer Akhobadze's afore-mentioned consideration: the study of Adjaran and Gurian folk
songs led us to the conclusion that in naduri songs gamqivani melody is encountered in more typical forms, which we fully share with Adjaran naduri
songs as well. Moreover: not only does gamqivani melody acquire typical forms in naduri songs, but gamqivani itself is typical for Adjarian naduri
songs.
If we have a look at current musical material, we will notice that in one case there is krimanchuli (Grigol Chkhikvadze's and Vladimer Akhobadze's
recordings), in another case (our recordings) krimanchuli is completely excluded and only gamqivani is sung. Of course this cannot be explained by
the creative or vocal abilities of the performers. For example, the singers from the village of Tsqavroka from whom we recorded Adjaran naduri
songs, performed the songs with and without krimanchuli with equal quality.
But, quite rightly, they do not consider it necessary to have krimanchuli in naduri songs. Krimanchuli is encountered in Kobuleti – a district in
Adjara, neibouring with Guria. And figuratively speaking, pays creative tribute to Gurian song, especially that four-part naduri songs with krimanchuli
are disseminated in all parts of Guria.
Gamqivani sings peculiar melodic figurations, which are organically woven into the leading melody of the second voice; gamqivani is
characterized in the following melodic phrases:
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Krimanchuli obviously prevails in Gurian naduri songs, but it is not a mechanical addition to the song, but is based on the intonation nature of the
song itself. The phrases typical for krimanchuli are:
Second voice of the four-part naduri song is called mtkmeli or damtsqebi. Aslan Inaishvili, Jemal Noghaideli and Grigol chkhikvadze justly note
that "traditionally mtkmeli or damtsqebi begins all naduri songs, it leads basic melody and also tells the verse. The other three voices sing on
different syllables, exclamations or separate vowel sounds. Thus, second voice is the key voice in naduri songs, which is referred to with different
names depending on its function: damtsqebi (beginner), because it starts the song, mtqkmeli (narrator), because it tells the verbal text, and
momgherali (singer), as the performer of the basic melody of the song" (Inaishvili, Noghaideli, Chkhikvadze, 1961:11).
It is noteworthy, that Valerian Akhobadze calls the second voice modzakhili: "As in all Georgian folk songs, and particularly in naduri, main and
leading role is played by the second voice, which is known as momdzakhneli or modzakhili. Modzakhili is the only voice, which has to tell the text, for
this it is sometimes called mtkmeli" (Akhobadze, 1961:14). The author refers to Ivane Javakhishvili's opinion: "Since usually momdzakhneli tells the
words and the words of the song is always a verse (lit. leksi in Georgian), we think that momdzakhneli should be melekse – the verse teller. First
name melekse indicates only the verse telling function of this voice-part, whilst gamqivani and bass sing without text" (Javakhishvili, 1938:83).
"Siegfried Nadel noticed – the author continues – that even though the Georgian name for the first voice is damtsqebi, the second is –
modzakhili, in Georgian folk songs in most cases second voice begins and sings the melody" (ibid.: 90). "Second voice is called modzakhili, the
singer is momdzakhneli. In naduri songs momdzakhneli is also known as the leader of the song – the author concludes (Akhobadze, 1961:15).
The afore-mentioned opinion is less convincing. The commonly known and ascertained voices of Georgian folk song are: tkma, modzakhili and
bani. Accordingly their performers are: mtkmeli, momdzakhneli and bani. These names clearly indicate to the performer's function in the song:
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mtkmeli tells the text, verse, and, since mostly the verse teller starts the song, he is also called damtsqebi (beginner). Momdzakhneli has dependent
meaning, so it follows mtkmeli. As for the order of the mentioned voice-parts it needs some clarity, as is incorrect: "Although in Georgian first voice
is called damtsqebi, the second – modzakhili; second voice starts most folk songs and also sings leading melody" (Noghaideli, 1933:81). Damtsqebi
can be the highest voice, as well as middle or low voices, but this does not mean that these voices should change their place in the song. Siegfried
Nadel's opinion bases upon the folk information: people refer to the voice which starts as first voice, which indicates to the sequence of voices, not to
their arrangement in singing. Adjaran and Gurian naduri songs always start with the second voice by pitch, he also tells the text, and so he is
mtkmeli, not momdzakhneli. Thus, second voice, mtkmeli, is an organizing voice, which starts the song, tells the verbal text, keeps the rhythm of
labor process and song, shifts the phrase and provides new musical material.
As Jemal Noghaideli correctly notes, third voice, shemkhmobari, as an independent voice is encountered only in labor songs: "Shemkhmobari is
attributed leading role in naduri songs: if the songs goes wrong, shemkhmobari has to fix it, in order to raise the tonality, tuning (shekhmoba) should
be lowered, etc (Noghaideli, 1967:29).
The statements of the three authors about shemkhmobari the melodically most confined voice, (particularly in Gurian naduri songs) is quite fair:
"It is characterized by immobility and is basically a sustained sound, especially in the first three-part section, where shemkhmobari has harmonious
function rather than melodic" (Inaishvili, Noghaideli, Chkhikvadze 1961:11). We cannot say the same bout Adjaran naduri songs, in which
shemkhmobari very often sings certain melodic phrases. Given that four-part naduri songs consist of four-part and three-part episodes, in three-part
episodes shemkhmobari has the function of bass. Akhobadze justly notes: "The shemkhmobari part is not only a sustained sound, which is fairly long
in naduri songs, but in some cases it is a formed melodic texture...... In naduri songs, where only three-part singing is maintained, shemkhmobari
performs the lowest, third voice part and its function is to determine the harmonic basis of the song" (Akhobadze, 1961:19).
Shemkhmobari per se is a loud male voice, mtkmeli as well as bani (bass) are always sung lower than shemkhmobari:
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Bani (bass) is the lowest and very mobile voice. It does not follow the song from the beginning to the end – but joins in one particular section.
Bass always has tonic function and after joining the song, shemkhmobari, which previously was a harmonious support, acquires dominant function.
The types of bass are:
Among the voices of four-part naduri songs there is a clearly formed correlation, which defines the artistic value of the song. For illustration, let's
discuss a few songs.
Shemokmedura – mtkmeli starts, shemkhmobari ends its sentence. Then top voice – tsvrili joins in. After 4 sentences appears bass, which is
joined by mtkmeli, then by tsvrili. This episode is the beginning of four-part performance: semkhmobari sings a sustained sound, mtkmeli – sings
the recitative sentence, bass is repeated in ostinato way, and krimanchuli appears in top part. After the four-part section bass disappears, and
shemkhmobari takes the function of harmonious basis, but this is temporary – the bass appears again, top voice and shemkhmobari end the song.
Bailetura – mtkmeli starts, which is joined by top voice. Shemkhmobari appears only in bar 9; it does not end the sentences of top voices, but is
a harmonious basis. However, melodic movements are sometimes observed within fifth. Appearance of bass is the beginning of the four-part
episode, in which tsvrili, mtkmeli and bass perform certain melodic phrases, namely:
tsvrili
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mtkmeli
bass
shemkhmobari is – a sustained sound – harmonious basis.
Krimanchuli appears in a certain section of four-part singing:
From Allegreto top part disappears, but then joins in again and ends the song together with shemkhmobari.
The same can be said about Chochkhatura, but the difference is that in four-part episode mtkmeli and bass move in fifth, upper voice appears
periodically. The song essentially ends with 4 voices; tsvrili drops out in the last eleven bars.
Jikura – mtkmeli starts, but shemkhmobari finishes its sentence. Then tsvrili joins mtkmeli, and shemkhmobari takes over the role of
harmonious basis. Krimanchuli appears in four-part episode – Moderato, whilst mtkmeli and bass move in parallel on the background of
shemkhmobari's sustained note. From Maestoso separate voices drop out by turns, however sometimes they get together. Three voices – tsvrili,
mtkmeli and bass complete the song.
Gordela – mtkmeli starts, who is joined by shemkhmobari. Gamqivani joins in bar 10. Mtkmeli leads the chief melody; gamqivani sings melodic
figurations, whilst shemkmobari is a harmonious basis. From Maestoso four-part singing appears with a noteworthy occurrence – contradistinction
of voices: on the one hand, gamqivani, mtkmeli, shemkhmobari and bass create countered groups, however, all voices get together in separate
sections. In coda bass drops out and gamqivani, mtkmeli and shemkhmobari complete the song.
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Sajavakhura – mtkmeli starts, shemkmobari – harmonious basis – joins in from the eighth bar. Gamqivani joins from the twenty-fourth bar
and performs peculiar figurations when mtkmeli leads basic melody. In the episode – Comodo – bass creates three-part group together with
gamqivani and mtkmeli. Four-part episode appears only when shemkhmobari joins in; on its sustained note gamqivani makes figurations, mtkmeli
sings recitative melody, bass – ostinato melodic phrases. From Moderato bass drops out, the song gets three-part and ends so.
Sasadilo – mtkmeli starts, gamqivani joins in; shemkhmobari appears, creating harmonious basis, which is of episodic character. Four-part
singing appears in the episode – Maestoso, where shemkhmobari is a sustained sound, mtkmeli and bass move in parallel, gamqivani makes
melodic figurations. In the episode to discuss, with the participation of bass four- and two-part sections (construction) oppose each other. In the
episode – Moderato – bass drops out, the song gets three-part and shemkhmobari takes on the function of bass.
Mshvidoba – mtkmeli starts, shemkhmobari finishes its sentence. After gamqivani joins in shemkhmobari is a harmonious basis, mtkmeli sings
the melody, gamqivani makes figurations. Bass joins in together with gamqivani. Together with mtkmeli the song is three-part. In certain section
bass and shemkhmobari alternate, then the song gets four-part, in which shemkhmobari is a sustained sound, the other voices perform certain
melodic phrases. After bass drops out the song ends with three voices – gamqivani, mtkmeli and shemkhmobari.
Lela – mtkmeli starts. Gamqivani or Shemkhmobari join in after an extensive musical sentence, in the first case quite fair is the afore-mentioned
note of the three authors: "In the three-part section of naduri song, shemkhmobari depends on the upper two voices – mtkmeli and gamqivani, and
chiefly appears when these two voices drop out, but most important and noteworthy is that sometimes its function is to complete the melodic
movements of mtkmeli and gamqivani" (Inaishvili, Noghaideli, Chkhikvadze, 1961: 11). But in the second case it loses its power, as shemkhmobari
has only the function of bass.
Bass may join in from the four-part episode or earlier. If bass enters earlier shemkhmobari drops out. The four-part episode itself is of
different kinds: sometimes it has krimanchuli, sometimes melodic phrases develop in upper voice. Shemkhmobari mainly sings sustained sound,
mtkmeli leads basic melody and bass is quite developed melodically and sometimes performs ostinato melodic phrases. Often, after the four-part
episode, bass drops out and three voices – gamqivani, mtkmeli and shemkhmobari end the song. But it's also possible to end the song with four or
two voices.
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Thus, each voice has significant function in the song, and their relation results in a fairly organized and developed complex polyphonic texture.
Interrelation of voices defines the construction of songs and character of separate episodes. As we see four-part naduri songs comprise four-part as
well as three-part episodes. Moreover: the cycle of naduri songs itself comprises four-part and three-part naduri songs, but these three-part songs
essentially differ from not only three-part songs of other genres, but also from three-part naduri songs of Georgia's different regions.
As Vladimer Akhobadze points, "In Adjara there are three-part naduri songs; for which the function of high bass is completely strange and
these songs are known only for low bass. In addition, if sometimes only shemkhmobari i.e. high bass sings the melodies of momdzakhneli and
gamqivani, and in another case – low and high bass, we think that on certain stage of development there may have existed naduri songs with special
type of harmonious basis – low bass, and on the next stage of development, two harmonious bases, high bass and low bass, appeared
simultaneously. Today the performance of some naduri songs in three voices, with particular type of tuning, is due to forgetting these songs"
(Akhobadze, 1961: 24).
There are two things to note here: first – the naduri songs, for which the function of high bass is completely strange, alongside Adjara are
also encountered in Guria, Imereti, Samegrelo and Lechkhumi; second: the consideration that on certain stage of development there may have
existed naduri songs with high bass, and on the next stage there appeared two harmonious bases with high and low bass – is not convincing. It is
not possible for shemkhmobari to have appeared (existed) earlier than bass. Bass is an organic part of Georgian vocal art and holds a solid place
even in simplest two-part songs. Besides, researchers relate the origin of the first voice to bass (Dimitri Arakishvili, Ivane Javakhishvili, Shalva
Aslanishvili, Siegfried Nadel).
In Georgian folk songs Vladimer Akhobadze distinguishes several forms of polyphonic development:
Harmonious basis was formed and developed as bass below a single-part melody.
1. The germ of three-part singing, when harmonious basis – high bass (main melody is located between two harmonious bases), appeared
above the main melody as the superstructure of low bass.
2. Development of high bass – harmonious basis functioning in high register became a melody, as first voice of three-part song.
3. Four-part singing is achieved by adding fourth voice to polyphonic three-part songs (Akhobadze, 1961: 33)
The author's position is clear: bass is formed below the single-part melody, and then high bass is formed, as a superstructure of low bass, which
becomes the first voice melody of a three-part song. And finally: four-part singing is achieved by adding fourth voice to a three-part song, which is
the fourth voice? – shemkhmobari, of course, which may precede the formation of bass.
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But why is it that in Guria and Adjara there are three-part naduri songs, in which shemkhmobari has the function of bass? This complicated
occurrence has its reasons. In Vladimer Akhobadze's opinion one of the reasons for this is that such songs have been forgotten: "The reason for
three-part performance of some naduri songs, with special type of tuning, is that these songs have sunk into oblivion" (Akhobadze, 1961: 24).
From the songs recorded by us, – "Vai, tu dilas kurdghelmao"; "Mtas khokhobi aprenila", "Tselaburai"; "Tseretiei" and "Gordelai" – are
performed by three voices; "Kali viqav aznauri"; "Sajavakhurai", "Qaranai", "Chior-chiti", "Chachnaberi" (in this song fourth voice joins in at the very
end), "Gveli khrilsa midzvreboda", – by four voices (Inaishvili, Noghaideli, Chkhikvadze, 1961: 10).
If , from the afore-mentioned songs, we compare "Mtas khokhobi aprenila" or "Sasadilo" with another recording – we recorded this song as a
four-part example. Vladimer Akhobadze recorded four-part "Tselaburai". Our as well as Akhobadze's recordings of "Gordela" are four-part examples.
"Mshvidoba" and "Lela", which are missing in Akhobadze's recordings, were recorded by us as four-part examples. We recorded three-part variants
of some of the afore-mentioned four-part songs.
In four-part songs bass and shemkhmobari may not sound simultaneously, which is why actually 3 voices are heard (Vladimer Akhobadze's
recordings – "Chiora", "Qaranai" and "Mtas khokhobi aprenila"), but whatever it is, the structure of these three-part songs is similar to that of the
four-part examples above; and these songs are standard.
Distinguished example is Qanuri (Likhauri), in which the correlation of voices is the same as in four-part naduri songs. Here shemkhmobari has
two functions: it ends the melodic line of mtkmeli and is the harmonious support of the entire song. The same can be said about "Dilis simghera".
The genre of naduri songs has long history in Georgia. Four-part examples have survived in Guria and Adjara. As mentioned above, we do not
consider right that "Adjara which bore perennial domination of Turkey on its shoulders, has preserved a large number of Georgian songs, especially
the examples of folk polyphony which are no more encountered in other parts of Georgia" (Inaishvili, Noghaideli, Chkhikvadze, 1961: 8). Fortunately,
such polyphonic examples have also survived throughout Guria.
As Mikheil Chikovani writes "there were four types of corn-field naduri songs: Sajavakhurai, Guriantulai, Shemokmedurai and Kobuleturai, each
of these had it its own verse (Chikovani, 1952: 260). Basing on Avksenti Megrelidze's information, Tamar Mamaladze notes: "In Guria corn-field
naduri songs differed in character and performance according to the villages, most distinguished among them were Guriantula, Kobuletura,
Shemokmedura, Chochkhatura, etc" (Mamaladze, 1962: 59).
Certainly, this list is incomplete. If we judge by the recordings, in addition to these other examples such as Baileturai, Gurulaim Gordelai,
Shektseulai, Jikurai and others can be added to the list. Adjaran repertoire of naduri songs comprises the songs from the Jikura cycle: "Mshvidoba",
"Kali viqav aznauri", "Murvani", "Shavi shashvi chiodao"; "Vai tu yeli yelobdao", "Elia tu meliao", "Mtas iremi datsolila", "Beburs khidsa vaketebdi",
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"Kori tetri chandarzeo", "Aba mukha tsotsinao". Besides the Jikura cycle: "Vai tu dilas qurdghelmao", "Qaranai", "Sajavakhurai", "Tseretiei",
"Chiorai, "Mtas khokhobi aprenila", "Beri katsi chachnaberi", "Lelai", "Gordelai" and others.
Sadly, only the titles of some songs have survived: "Ghupa", "Jurqvetula", "Parjanula", etc. According to Jemal Noghaideli (basing on Khasan
Roqva's information), "In olden times, famed singers competed with each other. The winner was greatly approved and appreciated by people, so,
naduri singers always had a few songs in their stock, which they never taught to others, and would sing themselves when needed. The opponent
could not repeat the song, and so the first singer would win, the second one would lose. The case with "Ghupa", was that it was the song of
Sanikidze, Tsetskhaldze and Noghaideli. The lyrics of "Ghupa", is the commonly known folk verse "Santlis gutans gavaketeb". When discussing
some songs from Jikura cycle the scholar is more cautious about the issue. About "Tseretiei" he writes: "As we see from the song, the verse should
have been created in Imereti, namely in Satseretlo, Tseretie should indicate to this" (Noghaideli, 1967: 33-35). Noghaideli discusses only the verbal
text, and not being a music expert, he possibly refrains from discussing the musical side of the song, but if in other case he is unlimited in this
respect, such an opinion is ruled out. About "Sharshandelsa naqanebsa" he writes that in some places this song is called "Sajavakhura", in other
places – "Kakutura", which indicates that the song was disseminated in Sajavakhura (which was Guria) as well as Kobuleti, Kakuti i.e. a village in
Adjara" (ibid.: 17). Then the author discusses the text recorded in Kobuleti district and notes: "Imeretian and Gurian variants of this verse begin
differently (ibid. 18).
Clear is the author's attitude towards the issue: in Imereti the text of the song was encountered, not the song itself. The same can be said about
"Tseretie".
All three authors share a similar opinion: "the contents of the songs are diverse: domestic, heroic, amusing, lyrical, epic, allegoric, humorous
verses. Also noteworthy is that according to the used verses we find parallels to these songs not only in Gurian folklore, but also in vocal art of
Georgia's other regions..... Similar verses are encountered in Kartlian, Kakhetian, Imeretain, Meskhetin songs (Inaishvili, Noghaideli, Chkhikvadze,
1961: 10).
This clearly shows that discussed are textual parallels between the songs from different parts of Georgia (Imeretian, more precisely). Of course,
it is unjust to generalize it to the musical side of the song. Our approach may be one-sided and textual analysis is not enough. In this case there is a
second solution – musical practice.
Ivane Javakhishvili writes: "Three-part songs were common in upper Imereti as well; fourth voice was added only in heirmi and sacred hymns.
Also noteworthy is that singers were distributed unequally in three-part songs; first and second voices were performed by one singer each, bass
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singers could be several". Here the scholar refers to Nestor Tsereteli's statement:"People did not know heirmi; only some of the nobility knew them
from the ancestors, four voices were needed to chant heirmi: fourth voice was dvrini or "low bass" (Javakhishvili, 1938: 73-74).
We tried to find four-part naduri songs in Imereti during the expedition, but this proved impossible, as the famed folk singers told us Imeretian
naduri songs are usually three-part. In the village of Mukhura (Tqibuli district) we were told that naduri songs are performed by eight singers: 4
basses, 2 second voices – kapia or gamtani, and 2 tsvrili parts. Bass starts naduri, followed by second voice and then tsvrili. Imeretian musical
practice shows that Imeretian naduri songs are three-part and the voice-parts have the names typical for Imereti.
Thus, Imeretian naduri songs are three-part and the information provided by Adjaran peasants that four-part songs are also encountered in
Imereti, implies only the verbal side, rather than musical (by verbal side the author probably implies the verbal calls between the choirs in antiphonal
performance. Ed.) All the more that, the information of Imeretian peasants about Imertian songs seems more natural and reliable. If four-part singing
did exist in heirmi and ecclesiastical hymns, about which people "did not know", it does not allow us to argue that naduri song "Gordela" is
disseminated in Imereti (we recorded several dozen three-part hymns from the famed chanter Varden Kurtsikidze in the village of Mukhura).
Chapter III
The Origin of Naduri Songs
When discussing naduri songs, the question arises about their origin. Most scholars regard them as ancient songs. In Grigol Chkhikvadze's
opinion "Undoubtedly, the musical text of ancient songs would not retain the original look for centuries. However, in some Georgian songs, recorded
earlier, clearly visible are the traces of remote past. This category of songs comprises bewailing over the deceased, ceremonial and healing songs,
naduri songs (the highlight is ours), the examples related to land farming, and also those containing poetic images related to Georgian people's
pagan worldview. The songs: "Dideba", "Lazare", "Lomisa", "Iavnana", "Sabodisho" or "Batonebo", "Mze shina da mze gareta", "Zari" or "Tirili",
"Lile", "Lemchilio" – "Iakash", "Didebaa taringzelars", "Naduri", "Khelkhvavi" (the highlight is ours), "Perkhuli" or "Perkhisi", "Rokva" and many
others, in which music is closely related with verbal text and movements can be attributed to the songs, in which not only poetic but also apparently
intonational elements derive from the depth of centuries and reflect pagan culture. (chkhikvadze, 1948: 13-14).
As Vladimer Akhobadze notes: "Naduri songs have passed a very long and difficult path from single - to four-part singing... Most of them are
sung with texts, the content of which is unknown to us today. In this regard noteworthy are naduri songs, which are constructed on the words iove
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and ia-boe. We do not know the meaning of these words, but considering the workers' mood towards the end of the labor process and the ritual
character of the entire process, these words may be the remnants of divine name, that has lost its meaning over time and has survived as fragments
in naduri songs. If this is confirmed, we can attribute naduri form and songs, even its simplest forms, to remote past" (Akhobadze, 1961: 29).
Interesting is Jemal Noghaideli's viewpoint:"We consider labor songs to be relatively old songs, all naduri songs: "Qanuri", "Khelkhvavi", "Elesa"
or others related to labor: "Mgzavruli", "Maqruli", "Abadelia", "Shvidkatsa" and others (Noghaideli, 1967: 28).
When discussing the songs of naduri form Carl Bucher points: "If people maintained this tradition during several millennia and it has been so
widely spread, this proves that such a type of labor is more economically advantageous, than single-handed labor" (Bucher, 1923: 227). In Mikheil
Chikovani's opinion "Naduri for hoeing is one of the oldest songs by origin" (Chikovani, 1938: 108).
All the afore-mentioned authors consider naduri songs ancient, but it is interesting which era they belong to. Grigol Chkhikvadze suggests the
pagan era "All of these songs reflect religious beliefs of Georgian people, in pre-Christian era and the remnants of their pagan musical culture. The
listed songs have clearly agrarian, magic and ceremonial functions" (Chkhikvadze, 1948: 15).
Carl Bucher indicates to slave era: "This sensitive song seems to have been created in the times of slavery. It cannot put up with the conditions
of modern labor – nadi, but still accompanies it, which proves that in the eyes of people, neighborly mutual assistance is not much different from
amusing labor. If during amusing labor work song and instrumental music is the means for maintaining discipline, it had to be of greater importance
in slave era" (Bucher, 1923: 227-229).
Shalva Aslanishvili is of the same opinion: "We think that "Elesa" is one of the oldest labor songs, performed during slave labor" (Aslanishvili,
1954: 273).
When discussing "Khelkhvavi" Jemal Noghaideli writes: "Apparently this is an ancient song. Its text mentions the saints of both Pagan and
Christian times.....In some variants St. Giorgi is mentioned instead of St. Nino. From this we must conclude that the song originated in the pagan
period and was related to the threshing-floor, St. Nino was introduced to the text from Christian times; from the 17th century "Khelkhvavi" was
related to maize culture..... In some cases in Gurian-Adjaran variant the pagan saint Giorgi (this probably implies the cult of pagan white Giorgi,
however this is less possible in West Georgia) is replaced by the Christian saint – St. Nino (Noghaideli, 1967: 26, 42).
Dimitri Janelidze notes "When nadi finished working, they headed to the host's house singing naduri on the way. They would choose a large tree
in the yard, and dig it out with hoes, the larger the tree, the better. Digging out the tree must be the remainder of a pagan cult, and survival of such
elements in naduri may indicate that this is an ancient form of labor" (Janelidze, 1948: 39).
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In their argumentations the above mentioned researchers rely on the following: verbal texts of the songs, poetic images related to Georgian
people's pagan worldview, remainders of musical culture, intonation elements of the song, common mood of the songs, their close connection with
the labor process, social function of the song, ethnographic data, etc.
When discussing Georgian folk song it is important to remember that: when the verse of certain genre becomes lyrics of a song it often changes
the genre. This is especially obvious in labor, table, and travelers' songs. Moreover: verses often change the rhythm as well, which can be explained
by the improvisation of verbal text in some genres of folk vocal music, but this does not exclude interrelation between verbal and musical texts which
cause the above mentioned phenomenon, in this regard naduri songs are no exception.
Free use of verbal text in naduri songs is a well-known fact in scientific literature. Jemal Noghaideli: "The theme of naduri verses and songs is
diverse, they can be divided into several thematic groups: ceremonial, domestic, heroic, love, etc. In West Georgia, more precisely in Guria and
Adjara nadi is split into two choirs, they alternately sing ceremonial, domestic, heroic or love verses-songs, which are encountered in large number
here" (Noghaideli, 1967: 11). Vladimer Akhobadze: "None of the lyrics are organically linked to the melody" (Akhobadze, 1961: 29). Carl Bucher: "As
long as ancient labor songs do not have some unchanging rhythm, and their improvisation depends on time and situation, the verse cannot exist by
itself, on the contrary, the musical element, of ancient labor song, its melody gains independence" (Bucher, 1923: 274). This is confirmed by the
three authors: "According to the performers of naduri, in olden times in the village of Leghva, Kobuleti district, traditionally 32 songs were preformed
during nadi. Interesting is that the songs had very extensive texts. However, none of them relate to labor. By genre their content is very diverse. In
this regard presented here are: domestic, heroic, hunting, amusing, lyrical, epic, allegorical, humorous verses (Inaishvili, Noghaideli, Chkhikvadze,
1961: 10).
Notwithstanding such considerations, some researchers rely mainly on verbal text. First of all we mean Nogaideli's opinion about "Khelkhvavi".
We think there is a factual mistake here: St. Giorgi and St. Nino are Christian saints and more caution is necessary when contrasting them. Probably
the author implied that St. Giorgi represented the pagan deity of the moon, this had to be said clearly to avoid misunderstanding. The following
opinion of the researcher is also unclear: "in Guria and Adjara the oldest are the songs without text, or with the lyrics incomprehensible to us. In such
examples, only mtkmeli or damtsqebi sings a clear text, the other voices have no text" (Noghaideli, 967: 27). If the text is completely unclear, how can
one voice, even mtkmeli sing a clear text or how can the song's antiquity be proved by incomprehensible lyrics? And most importantly: What right do
we have to consider oral text as the source text of the research?
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Also unclear is Grigol Chkhikvadze's position: as if the musical text created in ancient times could not retain its originality a dozen centuries later.
All the more that, the verbal text had to undergo changes. It's hard to keep track of remote ages in the songs, "which contain poetic images related to
the pagan worldview of the Georgian people. According to the scientist, the poetic images and perhaps even intonation elements in the verbal text of
these songs come from the depth of centuries" (Chkhikvadze, 1948: 13).
But if the verbal text is not a reliable component for solving some of the important problems of labor songs, the same is not true of a song's
musical regularities or its social function. It is not accidental for Carl Boucher to indicate that first of all, independent is the musical element –
melody of old labor song. Therefore, Grigol Chkhikvadze's view – that the elements of the intonation in ancient songs come from the depths of
centuries – is quite plausible. The functions and remainders of agrarian, magic, ceremonial musical culture add more credence to his conclusions.
Interesting is Carl Bucher's another viewpoint: "In most cases the starting point is the work done. Even though, in many songs the connection to the
labor process is quite distant, and in other cases it is completely missing" (Bucher, 1923: 228). Shalva Aslanishvili probably considered this when he
convincingly discussed "Elesa": "origin of the songs such as "Elesa" must be linked to the need of organized collective movement in the process of
labor" (Aslanishvili, 1954: 271). Vladimer Akhobadze also supports this opinion: "Elesa" is directly related to the labor process, namely to bringing
logs from the forest. But since it was impossible for one or two people to do that, they created a special form of combining forces and also a song to
unify the force, which, I suppose, should have been very simple at some point. On the early stage, this may have been not a song but very peculiar
cries, but in the course of time, people adjusted a song to this process of labor, the song gradually developed and reached a high level" (Akhobadze,
1961: 26).
He regards the use of currently meaningless words (iove and ia-boe) and supposes the existence possibility of an agrarian deity. Non-musicians
– Giorgi Melikishvili (Urartu) and Shota Dzidziguri (linguistic issues) also paid attention to the meaningless words, but it is much more difficult to
draw conclusions in folk vocal art. Especially, as Akhobadze notes none of the lyrics are organically linked to the melody.
Based on the above-mentioned, the scholars rightly attribute labor songs to the pre-Christian epoch, we – to slave era. However, in order to
confirm this point of view, it is necessary to take into account the features of other spheres of culture. "The development history of different countries
and cultures shows that the levels of development in separate spheres of the same culture do not often coincide, but some spheres of the culture are
so close to each other that their mutual influence is manifested in real artistic means. In this case, when determining the creation time of a particular
art example, we have every right to be guided by the data of the sphere with the same root and the same level of development, as the discussed
sphere" (Aslanishvili, 1950: 159).
75
Sharing this view point, we believe it is necessary to consider the spectacular culture of the discussed period. Spectacular culture of Georgian
people has a long history and we think that correct is Janelidze's opinion: "The sculptures of Dionysus (Bacchus) and Mimos, glyptic sculptures of
Dionysus with the images of masks and winners of theatrical performances, discovered on the territory of West Georgia, whatever their purpose,
confirm high level of theatrical-spectacular culture in Colchis, active creative relations with the ancient world which had advanced theater art"
(Janelidze, 1965: 87). We will focus on the poets and mysteries of mourning.
Basing on the data provided by Leonti Mroveli (the 11th-century Georgian chronicler) and Vakhushti Batonishvili (17th – century Georgian
geographer, historian and cartographer) and others it can be concluded that the spectacular culture of slave-era Georgia was a scaly, mass and
monumental occurrence.
Talking about this, we cannot bypass the architecture of the period and its most important monument – Uplistsikhe, about which Shalva
Amiranashvili (Georgian art historian) writes: "Main hall is a stage, where the spectacles were held. According to ancient theater architecture on both
sides, behind the stage there were additional rooms. Uplistsikhe theater building follows the principle of Roman Theater" (Amiranashvili, 1944: 121).
The Uplistsikhe complex merges characteristic features of Roman and national architecture. And not only Uplistsikhe, but also "the monuments
of material culture, as well as the surviving remains of other buildings, amaze us with their monumentality" (Melikishvili, 1959: 428).
Even these small examples show that in Georgia this culture was at a very high level of development.
Naduri songs have the same features, as they are performed by a large group of singers. Great similarity between different spheres of Georgian
culture indicates that the spectacular culture, national architecture and naduri songs date back to the same period, namely, the slave era. The
question is who performed labor songs in slave-era Georgia? Basing on the study of numerous materials Carl Bucher concludes: "We cannot say
anything with certainty about slave labor in the field, They may have possibly accompanied labor in the same way as in the case with black settlers in
American colonies. After all, old peoples considered singing to be an accompaniment to all kinds of work" (Bucher, 1923: 229). The author considers
labor process must be accompanied by singing, but since he has no tangible material he writes: similar to that of the black settlers in American
colonies. Surprisingly, Bucher who owned enormous material did not have a single group of labor songs, but if we delve deeper into the problem,
this should be considered natural.
It is true that the scale of slave labor in general was very wide, in Georgia, particularly. The use of slave or semi-slave labor in "agriculture" is
doubtless, on a fairly limited scale" (Melikishvili, 1959: 427). But the fact that slave labor was somewhat limited cannot be avoided. As Ivane
Javakhishvili, Simon Janashia and Niko Berdzenishvili point: "Back then, there were many slaves in Georgia....The royal family, priests and other
76
rich people had slaves. The slaves did different things; they did stonework, mixed clay, dug ore. Slaves were also oarsmen, when sailing in the
river...... So we say that Kartli of that time was a slave-holding state" (Javakhishvili, Janashia, Berdzenishvili, 1943: 78).
Strabo does not accidentally distinguish the clans of horsemen and landowners. Four clans of people live in this country. Kings come from the
first clan; Judges, military commanders and priests – from the second clan; horsemen and landowners – third clan;
Fourth clan for ordinary people, who are royal slaves and who do everything they need to live. They have public property by family relations,
which is directed by the elder. Such are the Iberians and their country" (Kaukhchishvili, 1957: 130).
Such a confrontation between landowners and slaves is conditioned by the fact that main source for getting slaves was war; main contingent of
slaves were military captives and their descendants; many wars waged by the kings of Kartli, also aimed to capture war prisoners" (Melikishvili, 1959:
428). While the landowners were free people; free farming – the work of community members – dominated the agricultural sector. The situation
was quite different in other fields of activity, such as: Construction and crafting, where slave labor was predominant" (ibid: 427-429).
From the above discussion we can conclude: The slaves could not sing songs related to land cultivation, as they were not substantially involved in
this activity. These songs were performed by free farmers (not captives), who served national vocal art. That's why naduri songs are an essential part
of Georgian folk music and not a "Class condensation" of Georgian farmers (Aslanishvili, 1954: 268).
Slaves, war prisoners, and other people could not develop this field of vocal art: Because of the nationality, on the one hand, and their activity, on
the other hand. We consider possible only the participation of slaves in the performance of such songs, which was associated with lifting and moving
heavy things. We mean the song "Elesa", which musically "belongs to undeveloped songs of labor that are directly related to manufacturing. Their
musical content is very primitive and is a direct reflection of the movement" (ibid.: 173). Of course this song cannot be identified with the "Elesa"
existing in Guria and Adjara today, which is sometimes sung during land works.
According to Vladimir Akhobadze's fair remark, we are really dealing with a very difficult development process, but the question is: was naduri
merely a form of mutual aid or at the same time a form of exploitation? "If we deal with a voluntary nadi , intended for ordinary villagers, it bases on
mutual assistance, but with the tribal chief, it is more service or labor conscription. The case is the same if the work is of public character. Obviously,
with such a voluntary assistance, the landlord receives more than he gives. Under the conditions of land-related inequality, such work may acquire
the form of conscription" (Bucher, 1923:189).
What was the situation in this regard in Georgia? According to Strabo, in the Hellenistic era the population engaged in land-works was divided
into two main layers: free landowners united in rural (territorial) communities, - the nation which is at the same time, the core of the army (civil
77
detachment) and the population is enslaved by the royal government – peasants (Kaukhchishvili, 1957: 28). In ancient Kartli there always existed
this layer of landowners and it is no accidental that the term peasant was inherited by feudal Kartli from slaveholding Kartli. To denote initially scanty
and then quite numerous "layer of landowners" (Melikishvili, 1959: 419) the farmer cultivates the land and is under the obedience of the landowner.
Moreover: considering the example of Khevsureti, "in the context of incessant wars between the communities one community may have been
subordinated by another one, and would become its surf-peasant. However, the economically subordinated community maintained its inner self-
governance, but was required to pay tax to the winner community every year and often paid labor conscription. Sometimes a relatively weak
community was voluntarily included in the protection of a stronger community and obeyed it" (ibid: 419). This suggests that the peasantry engaged in
agricultural work was not always equal in its work and often worked for the benefit of the royal government or a wealthy person (community), which
was some form of exploitation. Bucher's assumption is correct that the content of the accompanying song changes according to the circumstances,
when a worker works on the principle of voluntary mutual assistance in the song he expresses the joy of the abundant harvest, or joke with his
friends, in case of obligatory work, his song is imbued with hatred for the oppressor, or the misery caused by bad luck" (ibid.: 228).
To what extent is it possible for naduri song to progress from single-part to four-part singing? Let's remember Siegfried Nadel's words: this
prevailing form of male collective singing, is not just a musical feature, it expresses whole specific life of the people, unity, strong aspiration for
collectivity.... The choral song depicting Georgian national music with its motifs and forms of arrangements is linked to those national factors, which
reflect collective moments of people's lives: rules of divine service, community, traditional- ceremonial rules, sowing and harvesting, dancing and
banquet, which, in Georgia, is a traditional meeting of men and a political gathering at the same time" (Nadel, 1933: 78). We fully share this view and
so we believe that it is absolutely impossible for Georgian naduri song to ever be one-part. This is not supported by the existence of those types of
labor that are associated neither with naduri form of performance nor the folk music tradition existing in Georgia from time immemorial.
It is impossible to completely deny the existence of one-part labor songs in Georgia, but they are linked to individual labor, and thus are not
classified as naduri songs. One may indicate to choral single-part singing encountered in Tusheti and Meskheti, but no songs related to labor has
been recorded in these regions.
Finally it can be concluded: naduri songs were widespread in slave-era Georgia and belonged to farmers – peasants. Prior to this, their
existence in the developed form is excluded, because naduri form of labor expresses the class interdependence – factor of "Class condensation".
78
Bibliography
1. Amiranashvili, Shalva. (1944). History of Georgian Art. Tbilisi: Publishing of the Georgian Academy of Sciences.
2. Arakishvili, Dimitri. (1927). Gurian Branch of Georgian Music. Journal: Kartuli mtserloba, #10.
3. Aslanishvili, Shalva. (1950). Harmony of Karti-Kakhetian Choral Songs. Tbilisi: Sakhelgami.
4. Aslanishvili, Shalva. (1954). Essay on Georgian Folk Songs. Tbilisi: Khelovneba.
5. Akhobadze, Vladimer (1961). Georgian (Adjaran) Folk Songs. Batumi: State Publishing.
6. Bagrationi, Vakhushti. (1941). Description of the Kingdom of Georgia. Tbilisi: Publishing of Stalin Tbilisi State University.
7. Batonishvili (Bagrationi), Ioane. (1944). Kalmasoba, vol.1. Tbilisi: Sakhelgami.
8. Inaishvili, Aslan. Nighaideli, Jemal and Chkhikvadze, Grigol (1961). Materials of Adjaran Folk Music. Batumi Scientific Research Institute. Tbilisi:
Publishing of the GSSR Academy of sciences.
9. Lamberti, Archangelo. (1938). Description of Samegrelo. Tbilisi: Pederatsia.
10. Makalatia, Sergi. (1941). History and Ethnography of Georgia. Tbilisi: Georgian ethnographic society.
11. Mamaladze, Tamar. (1962). Labor songs in Kakheti. Tbilisi: Publishing of the GSSR Academy of sciences.
12. Machabeli, Davit. (1864). Morals of the Georgians. Journal Tsiskari, May.
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History. Tbilisi: Publishing of the Georgian SSR Academy of Sciences.
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15. Mroveli, Leonti. (1942). The Georgian Chronicles (Anaseuli list). Simon Kaukhchishvili Publishing.
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17. Mskhaladze, Ali. (1969). Adjaran domestic-ceremonial Poetry. Batumi: Sabchota Adjara.
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79
21. Paliashvili, Zakaria. (1908). Travel to Kakheti and Current State of Georgian Folk Songs. Newspaper Amirani, #150.
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SSR Academy of Sciences.
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80
Sromis simRerebi
* * *
Labor Songs
qqarTuli anbanis saerTaSoriso transkrifcia
International transcription of the Georgian alphabet
Mkhedruli Roman IPA Examples Pronunciation Tips
a a / / father open "ah" vowel sound
b b /b/ bless
g g / / given
d d /d/ day
e e / / set open "eh" vowel sound, between "wet" or "wait". Spanish or German "e".
v v /v/ vet vat/twine/tuft - this sound is often "w" when it follows another consonant, or sometimes like "f"
z z /z/ zenith
T T /t / today
i i /i/ meet bright "ee" vowel sound
k k /k / pickpocket non-aspirated "k" has no "h" breathiness in it. Slightly percussive
l l /l/ life
m m /m/ mentor
n n /n/ new
o o / / go round "oh" vowel sound
p p /p / upkeep non-aspirated "p" has no breathy "h" sound in it
J J / / pleasure
r r /r/ Paris Rolled "r" behind the upper teeth.
s s /s/ see
t t /t / sitcom non-aspirated "t"
u u /u/ root pursed lips round "oo" vowel sound
f f /p / pilgrim soft "p" with plenty of "h" breathiness in it
q q /k / call soft "k" with plenty of "h" breathiness in it
R R / / - Like French "r", produced in back of the throat at the same place as "g" but with friction like "kh". Not overly pronounced or audible
y y /q / - Produced in the throat as a light glottal stop. Not overly pronounced or audible
S S / / shine
C C /t / choose
c c /ts / sets
Z Z /dz/ nods
w w /ts / sits near sort of, if both words words are pronounced quickly. non-aspirated "ts"
W W /t / much noise sort of, if both words words are pronounced quickly. non-aspirated "ch"
x x /x/ Bach As in Yiddish chutzpah, Scottish loch
j j /d / rejoice
h h /h/ hymn
John A. Graham.
Modified from version in "The Transmission and Transcription of Georgian Liturgical Chant," Ph.D. dissertation (Princeton, 2015)
V
V
?
44
44
44
42
42
42
44
44
44
∑
.˙ Jœ Jœhaha
ii
dada
∑
Andante A96
∑
Jœ Jœ Jœjœ jœ jœ jœ jœ
lele
lala
vovo
CeCe
momo
lele
lala
vovo
∑
∑
jœ jœ jœ jœ jœ jœ jœ jœlele
lala
vovo
kaka
baba
WreWre
lala
vovo
∑
∑
jœ ‰ Œhoho
∑
.˙ œvovo
hoho
Jœ Jœ Jœ Jœ Jœ Jœ Jœ jœlele
lala
oo
CeCe
momo
lele
lala
oo
∑- - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - -
V
V
?
43
43
43
44
44
44
43
43
43
44
44
44
42
42
42
44
44
44
.œ Rœ Rœ ˙hehe
ii
aa
hoho
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœlele
lala
oo
kaka
baba
WreWre
lala
vovo
∑
˙ Jœ ‰hoho
˙ Jœ ‰hoho
∑
∑
∑
wvovo
∑
Jœ Jœ œ œvovo
dede
lala
dada
.œ ‰ Ó
Jœ Jœ œ œvovo
dede
lala
vovo
Jœ Jœ œ œlele
lala
vovo
kaka
∑
.Jœ Rœ Rœ Rœ Rœ Rœ Jœ Jœ œdada
didi
lala
vovo
dede
lala
hoho
hoho
hoho
Jœ Jœjœ jœ Jœ Jœ œ
baba
WreWre
lala
vovo
vovo
ii
dada
∑
.œ ‰hoho
.œ ‰hoho
∑- - - - - - - - - - - -- - - - - - - - - - - -
1. lela @@@
Lela
I choir
aWara
Adjara
1) Canaweris ganmavlobaSi simRera TandaTan maRldeba da sabolood kvartiT maRla mTavrdeba.
1) In the recording, the song gradually goes up and ends a fourth higher.
83
V
V
?
44
44
44
42
42
42
44
44
44
∑
. .˙ JœhoQhoQ
dada
∑
∑
Jœ Jœ Jœ Jœ Jœ Jœ Jœ jœlele
lala
vovo
CeCe
momo
lele
lala
vovo
∑
∑
Jœ Jœ Jœjœ jœ jœ jœ jœ
lele
lala
vovo
kaka
baba
WreWre
lala
vovo
∑
∑
jœ ‰ Œhoho
∑
. .˙ Jœvovo
vovo
Jœ Jœ Jœ Jœ Jœ Jœ Jœ jœlele
lala
vovo
CeCe
momo
lele
lala
vovo
∑- - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - -
V
V
?
43
43
43
44
44
44
43
43
43
44
44
44
œ œ Jœ Jœ œvovo
hoho
vovo
didi
lala
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœlele
lala
vovo
kaka
baba
WreWre
lala
vovo
∑
˙ Jœ ‰hoho
˙ Jœ ‰hoho
∑
∑
∑
wvovo
∑
œ œ .œ Jœoo
dede
lala
dada
.œ ‰ Ó
Jœ Jœ œ œvovo
dede
lala
dada
Jœ Jœ œ œlele
lala
vovo
CeCe
∑
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœvovo
didi
lala
vovo
vovo
vovo
didi
lala
œ Jœ Jœ ˙momo
lele
lala
vovo
∑
˙hoho
˙hoho
∑- - - - - - - - - - -- - - - - - - - - - -
II choir
84
V
V
?
42
42
42
44
44
44
∑
.˙ Jœ Jœaa
ii
dada
∑
∑
Jœ Jœ Jœ Jœ Jœ Jœjœ jœ
lele
lala
vovo
CeCe
momo
lele
lala
vovo
∑
∑
jœ jœ jœ jœ jœ jœ jœ jœmomo
yeye
vivi
nene
lala
nene
lala
vovo
∑
∑
jœ ‰ Œhoho
∑
.˙ œvovo
vovo
Jœ Jœ Jœ Jœ Jœ Jœ Jœ jœlele
lala
vovo
CeCe
momo
lele
lala
vovo
∑- - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - -
V
V
?
43
43
43
44
44
44
43
43
43
44
44
44
42
42
42
44
44
44
.œ Jœ Jœ Jœ Jœ Jœdede
lala
vovo
didi
lala
vovo
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœmomo
yeye
vivi
nene
lala
nene
lala
vovo
∑
˙ Jœ ‰hoho
˙ Jœ ‰hoho
∑
∑
∑
wvovo
∑
Jœ Jœ œ œoo
dede
lala
dada
.œ ‰ Œ
Jœ Jœ œ œvovo
dede
lala
vovo
Jœ Jœ œ œmomo
yeye
vivi
nene
∑
.Jœ Rœ Jœ Rœ Rœ Jœ Jœ Jœ Jœlala
didi
lala
dede
lala
vovo
didi
lala
vovo
Jœ Jœjœ jœ Jœ Jœ œ
lala
nene
lala
vovo
vovo
ii
dada
∑
˙hoho
˙hoho
∑- - - - - - - - - - - -- - - - - - - - - - - -
I choir
85
V
V
?
44
44
44
42
42
42
44
44
44
∑
.˙ Jœ Jœvovo
ii
dada
∑
∑
Jœ Jœ Jœ Jœ Jœ Jœ Jœ jœlele
lala
vovo
CeCe
momo
lele
lala
vovo
∑
∑
Jœ Jœ Jœjœ jœ jœ jœ jœ
momo
yeye
vivi
nene
lala
nene
lala
vovo
∑
∑
jœ ‰ Œhoho
∑
. .˙ Jœvovo
vovo
Jœ Jœ Jœ Jœ Jœ Jœ Jœ jœlele
lala
vovo
CeCe
momo
lele
lala
vovo
∑- - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - -
V
V
?
43
43
43
44
44
44
43
43
43
44
44
44
42
42
42
44
44
44
œ œ œ œdede
lala
dede
lala
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœmomo
yeye
vivi
nene
lala
nene
lala
vovo
∑
˙ Jœ ‰hoho
˙ Jœ ‰hoho
∑
∑
∑
wvovo
∑
œ œ .œ Jœoo
dede
lala
dada
˙ Ó
Jœ Jœ œ œvovo
dede
lala
vovo
.Jœ Rœ œ œmomo
yeye
vivi
nene
∑
Jœ Jœ .Jœ Rœ Jœ Jœ œlala
didi
lala
vovo
hoho
hoho
hoho
.jœ rœ jœ jœ ˙lala
nene
lala
vovo
∑
.œ ‰hoho
.œ ‰hoho
∑- - - - - - - - - - - -- - - - - - - - - - - -
II choir
86
V
V
?
44
44
44
42
42
42
44
44
44
∑
.˙ Jœ Jœaa
ii
dada
∑
∑
Jœ Jœ Jœjœ jœ jœ jœ jœ
lele
lavlav
CeCe
momo
bebe
dnidni
ee
roro
∑
∑
jœ jœ jœ jœ jœ jœ jœ jœgaga
TxuTxu
ee
baba
radrad
gingin
dada
vovo
∑
∑
jœ ‰ Œhoho
∑
. .˙ Jœvovo
vovo
Jœ Jœ Jœ Jœ Jœ Jœ Jœ jœlele
lavlav
CeCe
momo
bebe
dnidni
ee
roro
∑- - - - - - - - - - - - - - -- - - - - - - - - - - - - - -
V
V
?
43
43
43
44
44
44
43
43
43
44
44
44
˙ ˙dede
lala
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœgaga
TxoTxo
veve
baba
radrad
gingin
dada
vovo
∑
˙ Jœ ‰hoho
˙ Jœ ‰hoho
∑
∑
∑
wvovo
∑
Jœ Jœ œ œoo
dede
lala
dada
.œ ‰ Œ
Jœ Jœ œ œvovo
dede
lala
dada
Jœ Jœ œ œSenSen
TuTu
gaga
TxueTxue
∑
Jœ Jœ Rœ Rœ Rœ Rœjœ Jœ œ
vovo
dede
lili
vovo
dede
lala
vovo
dede
lala
Jœ Jœjœ jœ Jœ Jœ œ
baba
gingin
dada
vovo
hoho
ii
dada
∑
˙hoho
˙hoho
∑- - - - - - - - - -- - - - - - - - - -
I choir
87
V
V
?
42
42
42
44
44
44
∑
.˙ Jœ Jœvovo
ii
dada
∑
∑
Jœ Jœ Jœ Jœ Jœ Jœ Jœ jœlele
lavlav
CeCe
momo
bebe
dnidni
ee
roro
∑
∑
Jœ Jœ Jœ œ œjœ jœ jœ jœ
SenSen
TuTu
gaga
TxuTxu
ee
baba
gingin
dada
∑
∑
jœ ‰ Œhoho
∑
wvovo
Jœ Jœ Jœ Jœ Jœ Jœ Jœ jœlele
lala
vovo
CeCe
momo
lele
lala
vovo
∑- - - - - - - - - - - - - -- - - - - - - -- - - - - -
V
V
?
43
43
43
44
44
44
43
43
43
44
44
44
42
42
42
44
44
44
œ jœ œ œ jœ œvovo
ii
aa
vovo
ii
aa
Jœ Jœ Jœ Jœ Jœ Jœ Jœ JœSenSen
TuTu
gaga
TxuTxu
ee
baba
gingin
dada
∑
˙ Jœ ‰hoho
˙ Jœ ‰hoho
∑
∑
∑
wvovo
∑
œ œ .œ Jœvovo
dede
lala
dada
.˙ Œ
Jœ Jœ œ œvovo
dede
lala
dada
Jœ Jœ œ œSenSen
TuTu
gaga
TxueTxue
∑
Jœ Jœ .Jœ Rœ Jœ Jœ Jœ Jœvovo
didi
lala
vovo
vovo
vovo
dede
lala
Jœ Jœjœ jœ Jœ Jœ œ
baba
gingin
dada
dada
vhovho
ii
dada
∑
˙hoho
˙hoho
∑- - - - - - - - -
- - -- - - - - -
II choir
88
V
V
?
44
44
44
42
42
42
44
44
44
∑
.˙ Jœ Jœhaha
ii
dada
∑
∑
Jœ Jœ Jœ Rœ Rœ Jœ Jœjœ jœ
SenSen
TuTu
gaga
TxuTxu
ee
baba
gingin
dada
vovo
∑
∑
jœ jœ jœ jœ jœ jœ jœ jœCemCem
zeze
kiki
TxiTxi
radrad
gingin
dada
vovo
∑
∑
jœ ‰ Œhoho
∑
. .˙ Jœvovo
vovo
Jœ Jœ Jœ Jœ Jœ Jœ Jœ jœSenSen
TuTu
gaga
TxueTxue
baba
gingin
dada
vovo
∑- - - - - - - - - - - - -- - - - - - - - - - - - -
V
V
?
43
43
43
44
44
44
42
42
42
44
44
44
.œ Jœ ˙dede
lala
vovo
Jœ Jœ Jœ Jœ Jœ Jœ Jœ JœCemCem
zeze
kiki
TxiTxi
radrad
gingin
dada
vovo
∑
˙ Jœ ‰hoho
˙ Jœ ‰hoho
∑
∑
∑
.˙vovo
∑
Jœ Jœ œ œvovo
dede
lala
dada
.œ ‰ Œ
Jœ Jœ œ œvovo
dede
lala
vovo
Jœ Jœ œ œCemCem
zeze
kiki
TxiTxi
∑
.Jœ Rœ Jœ Rœ Rœ Jœ Jœ Jœ Jœlala
didi
lala
dede
lala
vovo
didi
lala
vovo
.Jœ Rœjœ jœ Jœ Jœ œ
radrad
gingin
dada
vovo
didi
ee
lala
∑
.œ ‰hoho
.œ ‰hoho
∑- - - - - - - - -- - - - - - - - -
I choir
89
V
V
?
44
44
44
42
42
42
44
44
44
∑
.˙ Jœ Jœvovo
ii
dada
∑
∑
Jœ Jœ Jœ Jœ Jœ Jœ Jœ jœSenSen
TuTu
gaga Txu
Txu ee
baba
gingin
dada
∑
∑
Jœ Jœ Jœjœ jœ jœ jœ jœ
CemCem
zeze
kiki
TxiTxi
radrad
gingin
dada
vovo
∑
∑
jœ ‰ Œhoho
∑
. .˙ ‰vovo
Jœ Jœ Jœ Jœ Jœ Jœ Jœ jœSenSen
TuTu
gaga
TxuTxu
ee
baba
gingin
dada
∑- - - - - - - - - - - -- - - - - - - - - - - -
V
V
?
43
43
43
44
44
44
43
43
43
44
44
44
42
42
42
44
44
44
œ jœ Jœ Jœ Jœ Jœ œvovo
ii
aa
vovo
vovo
didi
lala
Jœ Jœ Jœ Jœ Jœ Jœ Jœ JœCemCem
zeze
kiki
TxiTxi
radrad
gingin
dada
vovo
∑
˙ Jœ ‰hoho
˙ Jœ ‰hoho
∑
∑
∑
wvovo
∑
œ œ .œ Jœvovo
dede
lala
dada
.˙ Œ
Jœ Jœ œ œvovo
dede
lala
vovo
Jœ Jœ œ œSenSen
TuTu
gaga
TxueTxue
∑
Jœ Jœ# .Jœ Rœ Jœ Jœ Jœ Jœlala
didi
lala
vovo
hoho
vovo
dede
lala
Jœ Jœjœ jœ Jœ Jœ œ
baba
gingin
dada
vovo
didi
ee
lala
∑
.œ ‰hoho
.œ ‰hoho
∑- - - - - - - -- - - - - - - -
II choir
90
V
V
?
44
44
44
42
42
42
44
44
44
42
42
42
44
44
44
Ó ˙vovo
œ œ œ œlele
lala
vovo
CeCe
wvovo
Adagio A77 poco a poco accelerando - A80 DF A108
.Jœ Rœ œ Jœ# Jœ œvovo
dede
lala
didi
lala
vovo
œ œ œ œ œmomo
lele
lala
vovo
˙ Ó
.œ ‰hoho
.œ ‰hoho
∑
Jœ Jœ .Jœ Rœ Jœ# Jœ Jœ Jœvovo
dede
lala
didi
lala
vovo
didi
lala
œ œ œ œlele
lala
vovo
CeCe
wvovo
.Jœ Rœ œ œ# œ œvovo
didi
loQloQ
lala
vovo
œ œ œ œ œmomo
lele
lala
vovo
˙ Ó
.œ ‰hoho
.œ ‰hoho
∑- - - - - - - - - -- - - - - -- - - -
V
V
?
44
44
44
42
42
42
44
44
44
Jœ Jœ .Jœ Rœ Jœ# Jœ Jœ Jœvovo
dede
lala
didi
lala
vovo
dede
lili
œ œ œ œlele
lala
vovo
kaka
wvovo
.Jœ Rœ Jœ# Jœ Jœ Jœ œlala
didi
lala
vovo
hoho
hoho
hoho
œ œ œ œ œbaba
WreWre
lala
vovo
˙ Jœ ‰ Œ
.œ ‰hoho
.œ ‰hoho
∑
Jœ Jœ .Jœ Rœ .Jœ# Rœ Jœ Jœvovo
dede
lala
didi
lala
didi
lala
vovo
œ œ œ œlele
lala
vovo
kaka
wvovo
- - - - - - - - -- - -- -- -- -
I choir II choir
I choir II choir
91
V
V
?
42
42
42
44
44
44
42
42
42
44
44
44
œ œ Jœ Jœn Jœ Jœvovo
dede
lala
didi
lala
vovo
œ œ œ œ œbaba
WreWre
lala
vovo
˙ Ó
.œ ‰hoho
.œ ‰hoho
∑
Jœ Jœ œ Jœ Jœ Jœ Jœvovo
dede
lala
didi
lala
vovo
didi
œ œ œ œlele
lavlav
CeCe
momo
wvovo
.Jœ Rœ .Jœ# Rœ Jœ Jœ œlala
didi
lala
vovo
hoho
hoho
hoho
œ œ œ œ œbebe
dnidni
ee
roro
˙ Ó
.œ ‰hoho
.œ ‰hoho
∑
Jœ Jœ Jœ Jœ Jœ# Jœ Jœ Jœ
vovo
dede
lala
didi
lala
vovo
didi
lala
œ œ œ œlele
lavlav
CeCe
momo
wvovo
- - - - - - - - - -- - - -- - - - - -
V
V
?
42
42
42
46
46
46
Jœ Jœ .Jœ# Rœ Jœ Jœ œvovo
didi
lala
vovo
hoho
hoho
hoho
œ œ œ œ œbebe
dnidni
ee
roro
˙ Jœ Œ .
.œ ‰hoho
.œ ‰hoho
∑
œ œ Jœ Jœ# Jœ Jœ .œ ‰vovo
dede
lala
didi
lala
vovo
hoho
œ œ œ œ .œ ‰lele
lavlav
CeCe
momo
hoho
˙ œ œ .œ ‰vovo
hoho
vovo
hoho
Andante A88
.Jœ Rœ .Jœ Rœ Jœ Jœ# Jœ Jœ .œ ‰aa
uu
aa
uu
aa
didi
lala
vovo
hoho
œ œ œ œ .œ ‰lele
lavlav
CeCe
momo
hoho
˙ œ œ .œ ‰vovo
hoho
vovo
hoho
poco a poco accelerando - A92 DF A126
- - - - - - - -- - -- - - - -
I choir II choir
I choir II choir
92
V
V
?
?
.Jœ Rœ .Jœ Rœ .Jœ Rœ .Jœ Rœ .œ ‰aa
uu
aa
uu
aa
uu
aa
hoho
hoho
œ œ œ œ# .œ ‰bebe
dnidni
ee
roro
dada
˙ œ œ# .œ ‰vovo
hoho
vovo
hoho
˙ œ œ .œ ‰hehe
hehe
aa
haha
.Jœ Rœ Jœ Jœ .Jœ Rœ Jœ Jœ ˙vovo
didi
lala
vovo
hoho
didi
lala
vovo
hoho
œ œ œ œ# ˙bebe
dnidni
ee
roro
dada
˙ œ œ# ˙vovo
hoho
vovo
hoho
˙ œ œ ˙hehe
hehe
aa
haha
œ jœ Jœ# Jœ .Jœ Rœ .Jœ Rœ .œ ‰vovo
ii
aa
hoho
hoho
didi
lala
vovo
hoho
œ œ# œ œ .œ ‰gaga
TxuTxu
ee
baba
dada
˙ œ œ# .œ ‰vovo
hoho
vovo
hoho
˙ œ œ .œ ‰hehe
hehe
aa
haha
- - - - - - -- -- - -- - -- - -
V
V
?
?
œ jœ .Jœ# Rœ Jœ Jœ Jœ Jœ ˙vovo
ii
aa
hoho
hoho
didi
lala
vovo
hoho
œ œ œ œ# ˙gaga
TxuTxu
ee
baba
dada
˙ œ œ# ˙vovo
hoho
vovo
hoho
˙ œ œ ˙hehe
hehe
aa
haha
jœ œ# jœ .Jœ Rœ .Jœ Rœ .Jœ Rœ ˙ii
aa
ii
aa
hoho
hoho
uu
aa
hoho
hoho
œ œ œ œ# ˙TuTu
gingin
dada
vovo
dada
˙ œ œ# ˙vovo
hoho
vovo
hoho
˙ œ œ ˙hehe
hehe
aa
haha
œ œ Jœ Jœ Jœ Jœ ˙vovo
dede
lala
vovo
dede
lala
vovo
œ œ œ œ ˙TuTu
gingin
dada
vovo
dada
˙ œ œ ˙vovo
hoho
vovo
hoho
˙ œ œb ˙hehe
hehe
aa
haha
-- - - - - -- - - -- - -
I choir I choir
I choir
II choir
II choir II choir
93
V
V
?
?
œ œ Jœ Jœ Jœ Jœ ˙vovo
dede
lala
vovo
dede
lala
vovo
œ œ œ œ ˙CemCem
zeze
kiki
TxiTxi
dada
˙ œ œ ˙vovo
hoho
vovo
hoho
˙ œ œb ˙hehe
hehe
aa
haha
.Jœ RœJœ Jœ Jœ Jœ Jœ Jœ ˙
vovo
ii
aa
vovo
hoho
vovo
dede
lala
vovo
œ œ œ œ# ˙CemCem
zeze
kiki
TxiTxi
dada
˙ œ œ# ˙vovo
hoho
vovo
hoho
˙ œ œ ˙hehe
hehe
aa
haha
.Jœ RœJœ Jœ Jœ Jœ Jœ Jœ ˙
vovo
ii
aa
vovo
hoho
vovo
dede
lala
vovo
œ œ œ œ# ˙radrad
gingin
dada
vovo
dada
˙ œ œ# ˙vovo
hoho
vovo
hoho
˙ œ œ ˙hehe
hehe
aa
haha
œ jœ .Jœ# Rœ Jœ Jœ Jœ Jœ .œ ‰vovo
ii
aa
hoho
hoho
didi
lala
vovo
hoho
œ œ œ œ# ˙radrad
gingin
dada
vovo
dada
˙ œ œ# ˙vovo
hoho
vovo
hoho
˙ œ œ ˙hehe
hehe
aa
haha
- - - - - - - -- -- - - - - -
V
V
?
?
43
43
43
43
jœ œ# jœ .Jœ Rœ .Jœ Rœ .Jœ Rœ ˙ii
aa
ii
aa
haha
hoho
didi
lala
hoho
hoho
œ œ ˙ ˙ii
aa
vava
hehe
w ˙vovo
hoho
w ˙hehe
hehe
Jœ Jœ œ œvovo
dede
lala
hoho
jœ Jœ œ œii
aa
vava
hehe
˙ œvovo
hoho
˙ œhehe
hehe
Adagio A73
Jœ Jœ Rœ Rœ Rœ Rœ œvovo
dede
lala
vovo
dede
lala
hoho
jœ jœ# œ œii
aa
vava
hehe
˙ œvovo
hoho
˙ œhehe
hehe
poco a poco accelerando - A80 DF A116
.Jœ Rœ .Jœ Rœ œvovo
didi
lala
vovo
hoho
jœ jœ œ# œii
aa
vava
hehe
˙ œvovo
hoho
˙ œhehe
hehe
.Jœ Rœ .Jœ Rœ œvovo
didi
lala
vovo
hoho
jœ# jœ œ œii
aa
vava
hehe
˙ œvovo
hoho
˙ œhehe
hehe
II choir II choir
II choir II choir
I choir I choir
I choir I choir I choir
94
V
V
?
?
85
85
85
85
42
42
42
42
.Jœ Rœ .Jœ Rœ œvovo
didi
lala
vovo
hoho
jœ jœ œ# œii
aa
vava
hehe
˙ œvovo
hoho
˙ œhehe
hehe
Jœ Jœ œ œii
aa
vava
hehe
jœ# jœ œ œii
aa
vava
hehe
˙ œvovo
hoho
˙ œhehe
hehe
.Jœ Rœ .Jœ Rœ œvovo
didi
lala
vovo
hoho
jœ jœ œ# œii
aa
vava
hehe
˙ œvovo
hoho
˙ œhehe
hehe
Jœ Jœ œ œii
aa
vava
hehe
jœ# jœ œ œii
aa
vava
hehe
˙ œvovo
hoho
˙ œhehe
hehe
.Jœ Rœ .Jœ Rœ œvovo
didi
lala
vovo
hoho
jœ jœ œ# œii
aa
vava
hehe
˙ œvovo
hoho
˙ œhehe
hehe
Jœ Jœ œ œii
aa
vava
hehe
jœ# jœ œ œii
aa
vava
hehe
˙ œvovo
hoho
˙ œhehe
hehe
.Jœ Rœ .Jœ Rœ Jœvovo
didi
lala
vovo
hoho
jœ jœ œ# jœii
aa
vava
hehe
˙ Jœvovo
hoho
˙ jœhehe
hehe
V
V
?
?
42
42
42
42
44
44
44
44
∑
œ œ#voQvoQ
dada
∑
∑
Adagio A77
.Jœ Rœ Jœ Jœ .Jœ Rœ œvava
didi
lala
vovo
haha
hoho
hoho
.œ jœ œ# œaa
riri
ovov
dada
.˙ œvovo
hoho
.˙ œhehe
hehe
molto accelerando - A88 DF A168
.Jœ Rœ .Jœ R
œ .Jœ Rœ œaa
uu
aa
ii
aa
hoho
hoho
.œ jœ œ# œaa
riri
ovov
dada
.˙ œvovo
hoho
.œ jœ œ œaa
riri
ovov
dada
.œ Jœ .Jœ Rœ œvava
didi
lala
vovo
hoho
jœ# jœ jœ jœ jœ jœ œaa
riri
ovov
dada
ii
oo
dada
.˙ œvovo
hoho
.œ jœ œ œaa
riri
ovov
dada
Jœ JœJœ Jœ Jœ Jœ œ
vava
ii
aa
hoho
QaQa
hoho
hoho
jœ# jœ jœ jœ jœ jœ œaa
riri
ovov
dada
ii
oo
dada
.˙ œvovo
hoho
.œ jœ œ œaa
riri
ovov
dada
I choir I choir
I choir II choir II choir
II choir II choir II choir
I choir
I choir II choir
95
V
V
?
?
.Jœ Rœ Jœ Jœ Jœ Jœ Jœ ‰aa
uu
aa
hoho
QaQa
hoho
haha
œ œ œ# œaa
riri
ovov
dada
.˙ œvovo
hoho
.œ jœ œ œaa
riri
ovov
dada
.Jœ Rœ .Jœ Rœ œ œaa
uu
aa
ii
aa
hoho
œ œ œ# œaa
riri
ovov
dada
.˙ œvovo
hoho
.œ jœ œ œaa
riri
ovov
dada
.Jœ Rœ .Jœ Rœ .Jœ Rœ œaa
uu
aa
ii
aa
hoho
hoho
œ œ œ# œaa
riri
ovov
dada
.˙ œvovo
hoho
.œ jœ œ œaa
riri
ovov
dada
jœ Jœ Jœ Jœ Jœ jœ œvovo
dede
lala
didi
lala
vovo
dada
˙ œ# œii
ovov
dada
.˙ œvovo
hoho
.œ jœ œ œaa
riri
ovov
dada
V
V
?
?
42
42
42
42
.jœ Rœ Jœ Jœ Jœ jœ œvovo
dede
lala
didi
lala
vovo
dada
˙ œ# œii
ovov
dada
.˙ œvovo
hoho
.œ jœ œ œaa
riri
ovov
dada
.Jœ Rœ .Jœ Rœ .Jœ Rœ œaa
uu
aa
ii
aa
uu
aa
˙# œ œii
ovov
dada
.˙ œvovo
hoho
.œ jœ œ œaa
riri
ovov
dada
.Jœ Rœ .Jœ Rœ .Jœ Rœ œaa
uu
aa
ii
aa
uu
aa
˙# ˙ii
oo
˙ ˙vovo
hoho
˙ ˙ii
oo
.Jœ Rœ .Jœ Rœ .Jœ Rœ œaa
uu
aa
ii
aa
uu
aa
˙# ˙ii
oo
˙ ˙vovo
hoho
˙ ˙ii
oo
I choir I choir
I choir I choir
II choir II choir
II choir II choir
96
V
V
?
?
42
42
42
42
œ œii
oo
œ# œii
oo
œ Jœ ‰hoho
aa
œ œii
oo
Andante A88
Jœ RœRœ œ
aa
uu
aa
hoho
œ# œii
oo
œ Jœ ‰hoho
aa
œ œii
oo
molto accelerando al fine - A92 DF A168
Jœ Jœ œii
aa
hoho
œ# œii
oo
œ Jœ ‰hoho
aa
œ œii
oo
Jœ Jœ œii
aa
hoho
œ# œii
oo
œ Jœ ‰hoho
aa
œ œii
oo
Jœ Jœ œii
aa
hoho
œ# œii
oo
œ Jœ ‰hoho
aa
œ œii
oo
Jœ Jœ œii
aa
hoho
œ# œii
oo
œ Jœ ‰hoho
aa
œ œii
oo
Jœ Jœ œii
aa
hoho
œ# œii
oo
œ Jœ ‰hoho
aa
œ œii
oo
Jœ Jœ œii
aa
hoho
œ# œii
oo
œ Jœ ‰hoho
aa
œ œii
oo
V
V
?
?
47
47
47
47
44
44
44
44
Jœ Jœ œii
aa
hoho
œ# œii
oo
œ Jœ ‰hoho
aa
œ œii
oo
œ jœ ‰hoho
aa
œ# œii
oo
œ Jœ ‰hoho
aa
œ Jœ ‰hoho
aa
œ jœ ‰hoho
aa
œ# œii
oo
œ Jœ ‰hoho
aa
œ Jœ ‰hoho
aa
œ jœ ‰hoho
aa
œ# œii
oo
œ Jœ ‰hoho
aa
œ Jœ ‰hoho
aa
œ œ œ3
oo
hoho
hoho
œ œ œ3
oo
hoho
hoho
œ œ œ3
oo
hoho
hoho
œ œ œ3
oo
hoho
hoho
.w Œ
.w Œ
.w Œ
.w Œ
œ .˙vovo
ho.ho.
œ .˙vovo
ho.ho.
œ .˙vovo
ho.ho.
œ .˙vovo
ho.ho.
w
w
w
w
w
w
w
w
II choir II choir II choir II choir
II choir II choir I choir and II choir
I choir I choir I choir I choir
I choir I choir I choir
97
V
V
?
44
44
44
43
43
43
44
44
44
∑
.˙ œvo
vo
i
i
∑
Andante A88
1)
∑
Jœ Jœ Jœ Jœ Jœ Jœ jœ jœya
ya
ra
ra
na
na
is
is
ya
ya
na
na
Si
Si
o
o
∑
r e c i t.
∑
Jœ Jœjœ jœ jœ jœ jœ jœ
ya
ya
ra
ra
na
na
i
i
mis
mis
Cve
Cve
vi
vi
a
a
∑
a tempo
∑
.œ ‰ Œho
ho
∑
.˙ Jœ ‰vo
vo
vo
vo
Jœ Jœ Jœ Jœ Jœ Jœ Jœ jœya
ya
ra
ra
na
na
is
is
ya
ya
na
na
Si
Si
o
o
∑
r i t.
- - - - - - - - - - - - - - - - - -
- - - - - - - - - - - - - - - - - -
V
V
?
43
43
43
44
44
44
43
43
43
.œ Jœ Jœ Jœ Jœ Jœde
de
la
la
vo
vo
vo
vo
di
di
la
la
Jœ Jœ Jœ jœ Jœ Jœ Jœ Jœya
ya
ra
ra
na
na
i
i
mis
mis
Co
Co
vi
vi
a
a
∑
˙ Œho
ho
˙ Œho
ho
∑
Ó Jœ Jœ Jœ Rœ Rœvo
vo
di
di
la
la
de
de
la
la
∑
˙ Jœ Jœ œva
va
va
va
ha
ha
ha
ha
a tempo
.Rœ RÔœ Jœ Rœ Rœ Rœ Rœ Rœ Rœ Rœ Rœ Jœ œ
4 4
vo
vo
de
de
la
la
da
da
li
li
la
la
vo
vo
di
di
la
la
vo
vo
ho
ho
ho
ho
∑
œ œ ˙vo
vo
ho
ho
ho
ho
˙ Jœ ‰ho
ho
∑
˙ Jœ ‰ho
ho
- - - - - -
- - - - - -
2. yaranai @@@
Qaranai
I choir
aWara
Adjara
1) Canaweris ganmavlobaSi simRera TandaTan maRldeba da sabolood kvintiT maRla mTavrdeba.
1) In the recording, the song gradually goes up and ends a fifth higher.
98
V
V
?
47
47
47
44
44
44
42
42
42
44
44
44
∑
∑
œ ˙vo
vo
ho
ho
Œ . Jœ . .˙ Œ .hoQ
hoQ
œ .˙ Jœ Jœ œ œhoQ
hoQ
ho
ho
ya
ya
ra
ra
na
na
is
is
. .˙ ‰ Ó .
Jœ Jœ Rœ Rœ Rœ Rœ Jœ Jœ œvo
vo
de
de
la
la
di
di
la
la
vo
vo
ho
ho
ho
ho
ho
ho
Jœ Jœjœ jœ Jœ Jœ œ
ya
ya
na
na
Si
Si
o
o
di
di
e
e
la
la
∑
.œ ‰ho
ho
.œ ‰ho
ho
∑
∑
.˙ Jœ Jœvo
vo
i
i
da
da
∑
a c c e l.
∑
Jœ Jœ Jœ Jœ Jœ Jœ Jœ jœya
ya
ra
ra
na
na
is
is
ya
ya
na
na
Si
Si
o
o
∑
r e c i t.
- - - - - - - - - - - -
- - - - - - - - - - - -
V
V
?
42
42
42
44
44
44
43
43
43
44
44
44
∑
Jœ Jœ Jœjœ jœ jœ jœ jœ
ya
ya
ra
ra
na
na
i
i
mis
mis
Co
Co
vi
vi
a
a
∑
r i t.
∑
œ Œho
ho
∑
. .˙ Jœvo
vo
Jœ Jœ Jœ Jœ Jœ Jœ Jœ jœya
ya
ra
ra
na
na
is
is
ya
ya
na
na
Si
Si
o
o
∑
a tempo
œ Jœ Jœ œ œvo
vo
ho
ho
ho
ho
ho
ho
ho
ho
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœya
ya
ra
ra
na
na
i
i
mis
mis
Co
Co
vi
vi
a
a
∑
˙ Œho
ho
˙ Œho
ho
∑
Œ .Jœ# Rœ .Jœ Rœ# Jœ Jœua
ua
vo
vo
vo
vo
ho
ho
ho
ho
ho
ho
∑
˙# .Jœ Rœ Jœ ‰va
va
ha
ha
ha
ha
ha
ha
- - - - - - - - - - - - - - - - - -
- - - - - - - - - - - - - - - - - -
II choir
99
V
V
?
43
43
43
44
44
44
47
47
47
43
43
43
44
44
44
.jœ Rœ Jœn Jœ .Jœ Rœ œvo
vo
de
de
la
la
da
da
ua
ua
ho
ho
ho
ho
∑
œ# œ ˙vo
vo
ho
ho
ho
ho
˙ Œho
ho
∑
˙ Œho
ho
∑
∑
wvo
vo
Ó Rœ Rœ .œvo
vo
de
de
la
la
œ ˙ Jœ JœhoQ
hoQ
ho
ho
i
i
˙ Ó
.˙ .œ Rœ Rœ Jœ Jœ œde
de
la
la
vo
vo
ho
ho
ho
ho
Jœ Jœ œ œ Jœ Jœjœ rœ Rœ
jœ jœ œya
ya
ra
ra
na
na
is
is
ya
ya
na
na
Si
Si
o
o
da
da
vo
vo
i
i
da
da
∑
˙ Œho
ho
˙ Œho
ho
∑- - - - - -
- - - - - -
V
V
?
44
44
44
42
42
42
44
44
44
∑
. .˙ JœvoQ
voQ
da
da
∑
∑
Jœ Jœ Jœ Jœ Jœ Jœ jœ jœi
i
qa
qa
u
u
svams
svams
u
u
Wa
Wa
mi
mi
a
a
∑
r e c i t.
∑
Jœ Jœ Jœjœ jœ jœ jœ jœ
me
me
tad
tad
ga
ga
su
su
qe
qe
bu
bu
la
la
vo
vo
∑
r i t.
∑
œ Œho
ho
∑
.˙ Jœ ‰vo
vo
ho
ho
Jœ Jœ Jœ Jœ Jœ Jœ Jœ jœi
i
qa
qa
u
u
svams
svams
u
u
Wa
Wa
mi
mi
a
a
∑
a tempo
- - - - - - - - - - - - - - - -
- - - - - - - - - - - - - - - -
I choir
100
V
V
?
43
43
43
44
44
44
43
43
43
.œ Jœ Jœ Jœ Jœ Jœde
de
la
la
vo
vo
di
di
la
la
vo
vo
Jœ Jœ Jœ jœ Jœ Jœ Jœ Jœme
me
tad
tad
ga
ga
su
su
qe
qe
bu
bu
la
la
vo
vo
∑
˙ Œho
ho
˙ Œho
ho
∑
Ó Rœ Rœ Rœ Rœ Rœ Rœ Rœ Rœvo
vo
di
di
la
la
vo
vo
vo
vo
di
di
la
la
vo
vo
∑
˙ .Jœ Rœ œva
va
ha
ha
ha
ha
ha
ha
Jœ Jœ Rœ Rœ Rœ Rœ Rœ Rœ Rœ Rœ œvo
vo
da
da
la
la
di
di
la
la
vo
vo
ho
ho
di
di
la
la
vo
vo
ho
ho
∑
œ œ ˙vo
vo
ho
ho
ho
ho
.˙ho
ho
∑
.˙ho
ho
- - - - - -
- - - - - -
V
V
?
44
44
44
47
47
47
42
42
42
44
44
44
∑
∑
œ ˙vo
vo
ho
ho
Ó ˙hoQ
hoQ
œ ˙ Jœ JœvoQ
voQ
ho
ho
i
i
.˙ Œ
˙ Œ Jœ Jœ Rœ Rœ Rœ Rœ Jœ Jœ Jœ Rœ Rœvo
vo
de
de
la
la
di
di
la
la
vo
vo
ho
ho
ho
ho
ho
ho
di
di
la
la
Jœ Jœ œ œb Jœ Jœnjœ jœ Jœ Jœ œ
me
me
tad
tad
ga
ga
su
su
qe
qe
bu
bu
la
la
vo
vo
di
di
e
e
la
la
∑
˙ho
ho
˙ho
ho
∑
∑
.˙ Jœ Jœvo
vo
i
i
da
da
∑
a c c e l.
∑
Jœ Jœ Jœ Jœ Jœ Jœ Jœ jœi
i
qa
qa
u
u
svams
svams
u
u
Wa
Wa
mi
mi
a
a
∑
r e c i t.
- - - - - - - - - - -
- - - - - - - - - - -
II choir
101
V
V
?
42
42
42
44
44
44
∑
Jœ Jœ Jœjœ jœ jœ jœ jœ jœ
3
me
me
tad
tad
ga
ga
su
su
qe
qe
bu
bu
la
la
vo
vo
∑
r i t.
∑
œ Œho
ho
∑
. .˙ Jœvo
vo
ho
ho
Jœ Jœ Jœ Jœ Jœ Jœ Jœ jœi
i
qa
qa
u
u
svams
svams
u
u
Wa
Wa
mi
mi
a
a
∑
a tempo
œ Jœ Jœ œ œde
de
la
la
ho
ho
de
de
la
la
Jœ Jœ Jœ Jœ Jœ Jœ œme
me
tad
tad
ga
ga
su
su
qe
qe
bu
bu
la
la
∑
.˙ Œho
ho
.˙ Œho
ho
∑
Œ .Jœ# Rœ .Jœ Rœ# Jœ JœQa
Qa
ho
ho
ho
ho
vo
vo
de
de
la
la
∑
˙# .Jœ Rœ œva
va
ha
ha
ha
ha
ha
ha
- - - - - - - - - - - - - - - -
- - - - - - - - - - - - - - - -
V
V
?
43
43
43
44
44
44
47
47
47
42
42
42
44
44
44
.jœ Rœ Jœ Jœ Jœ Rœ Rœ œvo
vo
de
de
la
la
da
da
ho
ho
ho
ho
ho
ho
∑
œ# œ ˙vo
vo
ho
ho
ho
ho
˙ Jœ ‰ho
ho
∑
˙ Jœ ‰ho
ho
∑
∑
wvo
vo
Œ Rœ Rœ Jœ ˙o
o
de
de
la
la
Jœ .˙ JœvoQ
voQ
ho
ho
i
i
˙ Jœ ‰ Œ
.˙ .œ Rœ Rœ Jœ Jœ œde
de
la
la
vo
vo
ho
ho
ho
ho
Jœ Jœ œ œ Jœ Jœjœ rœ Rœ
jœ jœ œme
me
tad
tad
ga
ga
su
su
qe
qe
bu
bu
la
la
vo
vo
da
da
vo
vo
i
i
da
da
∑
˙ho
ho
˙ho
ho
∑- - - - - - -
- - - - - - -
102
V
V
?
44
44
44
45
45
45
44
44
44
∑
. .˙ JœvoQ
voQ
da
da
∑
a c c e l.
∑
Jœ Jœ Jœ Jœ Jœ Jœ jœ jœsxaps
sxaps
a
a
vu
vu
wyob
wyob
da
da
vi
vi
Wi
Wi
rav
rav
∑
r e c i t.
∑
Jœ Jœ Jœjœ Jœ
jœ jœ jœ# œToks
Toks
Ca
Ca
va
va
bam
bam
fex
fex
Si
Si
a
a
vo
vo
da
da
∑
r i t.
∑
jœ# jœ .˙ œa
a
ha
ha
ha
ha
i
i
∑
a tempo
∑
.œ jœ jœ jœ# œ Œvo
vo
i
i
di
di
la
la
da
da
∑- - - - - - - - - -
- - - - - - - - - -
V
V
?
44
44
44
.Jœ Rœ .Jœ Rœ .Jœ Rœ .Jœ Rœvo
vo
di
di
lo
lo
i
i
vo
vo
di
di
lo
lo
i
i
œ œ œ Jœ ‰sxaps
sxaps
a
a
vu
vu
wyob
wyob
˙# œ œvo
vo
ho
ho
ho
ho
.Jœ Rœ .Jœ Rœ .Jœ Rœ Jœ ‰vo
vo
di
di
lo
lo
i
i
vo
vo
di
di
lo
lo
œ œ œ Jœ ‰da
da
vi
vi
Wi
Wi
rav
rav
˙# œ œvo
vo
ho
ho
ho
ho
.Jœ Rœ .Jœ Rœ .Jœ Rœ Jœ ‰vo
vo
di
di
lo
lo
i
i
vo
vo
di
di
lo
lo
œ œ œ Jœ ‰Toks
Toks
Ca
Ca
va
va
bam
bam
˙# ˙vo
vo
ho
ho
Jœ Jœ Jœ Jœ .œ Jœ#vo
vo
de
de
la
la
vo
vo
ho
ho
i
i
Jœ Jœ Jœ jœ œ Œfex
fex
Si
Si
a
a
vo
vo
hoQ
hoQ
˙ ˙ho
ho
ho
ho
œ .˙vo
vo
ho
ho
œ .˙vo
vo
ho
ho
œ .˙vo
vo
ho
ho
- - - - - - - - - -
- - - - - - - - - -
I choir
103
V
V
?
Œ .Jœ Rœ .Jœ Rœ .Jœ Rœvo
vo
i
i
vo
vo
di
di
lo
lo
i
i
œ œ œ œsxaps
sxaps
da
da
vu
vu
geb
geb
˙# œ œvo
vo
ho
ho
ho
ho
.Jœ Rœ .Jœ Rœ .Jœ Rœ Jœ ‰vo
vo
di
di
lo
lo
i
i
vo
vo
di
di
lo
lo
œ œ œ Jœ ‰da
da
vi
vi
Wi
Wi
rav
rav
˙# œ Jœ ‰vo
vo
ho
ho
ho
ho
.Jœ Rœ .Jœ Rœ .Jœ Rœ Jœ ‰vo
vo
di
di
la
la
vo
vo
vo
vo
di
di
lo
lo
œ œ œ Jœ ‰Toks
Toks
Ca
Ca
va
va
bam
bam
˙# ˙vo
vo
ho
ho
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœ#vo
vo
de
de
la
la
vo
vo
ho
ho
vo
vo
de
de
li
li
Jœ Jœ Jœ jœ œ Œfex
fex
Si
Si
a
a
vo
vo
ho
ho
˙ œ Œho
ho
ho
ho
œ ˙ Jœ ‰dav
dav
ho
ho
œ ˙ Jœ ‰vo
vo
ho
ho
œ ˙ Jœ ‰vo
vo
ho
ho
- - - - - - - - - -
- - - - - - - - - -
V
V
?
Ó .Jœ Rœ œvo
vo
di
di
lo
lo
œ œ œ œor
or
moc
moc
o
o
ya
ya
˙# œ œvo
vo
ho
ho
ho
ho
.Jœ Rœ .Jœ Rœ .Jœ Rœ Jœ ‰vo
vo
di
di
lo
lo
i
i
vo
vo
di
di
lo
lo
œ œ œ Jœ ‰nals
nals
vi
vi
yi
yi
di
di
˙# œ œvo
vo
ho
ho
ho
ho
.Jœ Rœ œ .Jœ Rœ œvo
vo
di
di
lo
lo
vo
vo
di
di
lo
lo
œ œ œ Jœ ‰zed
zed
da
da
va
va
Wed
Wed
˙# ˙vo
vo
ho
ho
Jœ Jœ Jœ Jœ ˙vo
vo
de
de
la
la
vo
vo
hoQ
hoQ
Jœ Jœ Jœ jœ œ Œfex
fex
ze
ze
da
da
vo
vo
ho
ho
˙ œ Œho
ho
ho
ho
œ .˙vo
vo
ho
ho
œ .˙vo
vo
ho
ho
œ .˙vo
vo
ho
ho
- - - - - - - - -
- - - - - - - - -
II choir
I choir
104
V
V
?
œ œ œ œvo
vo
ho
ho
ho
ho
ho
ho
œ œ œ œor
or
moc
moc
o
o
ya
ya
˙# œ œvo
vo
ho
ho
ho
ho
.Jœ Rœ Jœ Jœ œ Jœ ‰vo
vo
i
i
a
a
ho
ho
ho
ho
ho
ho
œ œ œ Jœ ‰nals
nals
vi
vi
yi
yi
di
di
˙# œ Jœ ‰vo
vo
ho
ho
ho
ho
.Jœ Rœ Jœ Jœ Jœ ‰ Jœ Jœ#vo
vo
de
de
la
la
vo
vo
ho
ho
ho
ho
i
i
œ œ œ œzed
zed
da
da
va
va
Wed
Wed
˙# ˙vo
vo
ho
ho
.˙ Œha
ha
.jœ Rœ Jœ Jœ œ Œfex
fex
ze
ze
da
da
vo
vo
ho
ho
˙ œ Œho
ho
ho
ho
Œ Rœ Rœ Jœ .œ ‰o
o
de
de
la
la
œ Rœ Rœ Jœ .œ ‰voQ
voQ
ho
ho
ri
ri
ra
ra
œ ˙ Jœ ‰vo
vo
ho
ho
- - - - - - -- -
- - - - - - - - -
V
V
?
Ó .Jœ Rœ .Jœ Rœvo
vo
di
di
lo
lo
i
i
œ œ œ Jœ ‰xu
xu
Tas
Tas
o
o
ya
ya
˙# œ œvo
vo
ho
ho
ho
ho
.Jœ Rœ .Jœ Rœ .Jœ Rœ Jœ ‰vo
vo
di
di
lo
lo
i
i
vo
vo
di
di
lo
lo
œ œ œ Jœ ‰qers
qers
vi
vi
yi
yi
di
di
˙# œ œvo
vo
ho
ho
ho
ho
.Jœ Rœ .Jœ Rœ .Jœ Rœ Jœ ‰vo
vo
di
di
lo
lo
i
i
vo
vo
di
di
lo
lo
œ œ œ Jœ ‰Se
Se
mo
mo
vi
vi
dgam
dgam
˙# ˙vo
vo
ho
ho
Jœ Jœ Jœ Jœ ˙vo
vo
de
de
la
la
vo
vo
hoQ
hoQ
Jœ Jœ Jœ jœ ˙Terg
Terg
ze
ze
da
da
vo
vo
ho
ho
˙ ˙ho
ho
ho
ho
œ .˙vo
vo
ho
ho
œ .˙voQ
voQ
ho
ho
œ .˙vo
vo
ho
ho
- - - - - - - - - -
- - - - - - - - - -
II choir
I choir
105
V
V
?
.Jœ Rœ# Jœ Jœ œ Jœ ‰vo
vo
di
di
la
la
ho
ho
ha
ha
ho
ho
œ œ œ œxu
xu
Tas
Tas
o
o
ya
ya
˙# œ œvo
vo
ho
ho
ho
ho
.Jœ Rœ# Jœ Jœ œ Jœ ‰vo
vo
di
di
la
la
ho
ho
ha
ha
ho
ho
œ œ œ Jœ ‰qers
qers
vi
vi
yi
yi
di
di
˙# œ Jœ ‰vo
vo
ho
ho
ho
ho
.Jœ Rœ# Jœ Jœ œ Jœ ‰vo
vo
di
di
la
la
ho
ho
ha
ha
ho
ho
œ œ œ Jœ ‰Se
Se
mo
mo
vi
vi
dgam
dgam
˙# ˙vo
vo
ho
ho
.Jœ Rœ Jœ Jœ Jœ Jœ Jœ Jœ#vo
vo
de
de
la
la
vo
vo
ho
ho
vo
vo
de
de
li
li
Jœ Jœ Jœ jœ œ ŒTerg
Terg
ze
ze
da
da
vo
vo
ho
ho
˙ œ Œho
ho
ho
ho
œ .˙da
da
ha
ha
œ .˙vo
vo
ho
ho
œ .˙vo
vo
ho
ho
- - - - - - - - - -
- - - - - - - - - -
V
V
?
?
46
46
46
46
44
44
44
44
46
46
46
46
44
44
44
44
Ó Rœ Rœ Rœ Rœ Jœ ‰vo
vo
de
de
la
la
di
di
la
la
œ œ œ œya
ya
ra
ra
na
na
is
is
˙ ˙vo
vo
ho
ho
∑
Adagio A73 poco a poco accelerando
Jœ Jœ œ .Jœ Rœ Jœ Jœ ˙vo
vo
de
de
la
la
ho
ho
de
de
la
la
ho
ho
œ œ# œ œ ˙ya
ya
na
na
Si
Si
o
o
da
da
˙ œ œ ˙ho
ho
vo
vo
ho
ho
∑
Jœ Jœ Jœ Jœ œ Jœ ‰vo
vo
de
de
la
la
i
i
da
da
ha
ha
œ Jœ# ‰ œ œya
ya
ra
ra
na
na
is
is
˙ ˙vo
vo
ho
ho
˙ ˙vo
vo
ho
ho
.Jœ Rœ œ Jœ Jœ Jœ Jœ ˙vo
vo
de
de
la
la
ho
ho
de
de
la
la
ho
ho
œ œ# œ œ ˙ya
ya
na
na
Si
Si
o
o
da
da
˙ œ œ ˙ho
ho
ho
ho
vo
vo
ho
ho
˙ œ œb ˙ho
ho
ho
ho
vo
vo
ho
ho
- - - - - - - - - - - -
- - - - - - - - - - - -
II choir
I choir I Ichoir
106
V
V
?
?
44
44
44
44
46
46
46
46
44
44
44
44
46
46
46
46
44
44
44
44
œ œ œ Jœ JœvoQ
voQ
da
da
de
de
la
la
ho
ho
œ œ œ œya
ya
ra
ra
na
na
i
i
˙ ˙vo
vo
ho
ho
who
ho
Andante A88
.Jœ Rœ .Jœ Rœ Jœ Jœ Jœ Jœ ˙vo
vo
de
de
la
la
ho
ho
ho
ho
ho
ho
de
de
la
la
ho
ho
œ œ œ œ# ˙mis
mis
Co
Co
vi
vi
a
a
da
da
˙ œ œ# ˙ho
ho
ho
ho
vo
vo
ho
ho
.˙ œ ˙vo
vo
ho
ho
œ œ œ œvoQ
voQ
da
da
de
de
la
la
œ œ œ œya
ya
ra
ra
na
na
i
i
˙ ˙vo
vo
ho
ho
who
ho
poco a poco accelerando
.Jœ Rœ œ Jœ Jœ Jœ Jœ ˙vo
vo
de
de
la
la
ha
ha
ho
ho
de
de
la
la
ho
ho
œ œ œ œ# ˙mis
mis
Co
Co
vi
vi
a
a
da
da
˙ œ œ# ˙ho
ho
ho
ho
vo
vo
ho
ho
.˙ œ ˙vo
vo
ho
ho
- - - - - - - - - - - -
- - - - - - - - - - - -
V
V
?
?
44
44
44
44
46
46
46
46
44
44
44
44
46
46
46
46
44
44
44
44
œ œ .Jœ Rœ Jœ JœvoQ
voQ
da
da
vo
vo
di
di
la
la
vo
vo
œ œ œ jœ ‰i
i
qa
qa
u
u
svams
svams
˙ ˙vo
vo
ho
ho
who
ho
.Jœ Rœ œ œ œ ˙ho
ho
de
de
la
la
voQ
voQ
da
da
ho
ho
œ œ œ œ# ˙u
u
Wa
Wa
mi
mi
a
a
da
da
˙ œ œ# ˙ho
ho
ho
ho
vo
vo
ho
ho
.˙ œ ˙vo
vo
ho
ho
.Jœ Rœ . .œ Rœ Jœ Jœvo
vo
di
di
la
la
di
di
la
la
ho
ho
œ œ œ œi
i
qa
qa
u
u
svams
svams
˙ ˙vo
vo
ho
ho
who
ho
.Jœ Rœ œ .Jœ Rœ Jœ Jœ ˙ho
ho
de
de
la
la
ha
ha
ho
ho
de
de
la
la
ho
ho
œ œ œ œ œ# ˙u
u
Wa
Wa
mi
mi
a
a
da
da
˙ œ œ# ˙ho
ho
ho
ho
vo
vo
ho
ho
.˙ œ ˙vo
vo
ho
ho
- - - - - - - - - -
- - - - - - - - - -
I choir II choir
I choir II choir
107
V
V
?
?
44
44
44
44
46
46
46
46
44
44
44
44
46
46
46
46
.Jœ Rœ œ .Jœ Rœ Jœ Jœvo
vo
di
di
la
la
vo
vo
di
di
la
la
vo
vo
œ œ œ œme
me
tad
tad
ga
ga
su
su
˙ ˙vo
vo
ho
ho
who
ho
.Jœ Rœ Jœ Jœ Jœ Jœ Jœ Jœ ˙vo
vo
de
de
la
la
di
di
la
la
ho
ho
de
de
la
la
ho
ho
œ jœ ‰ œ œ# ˙qe
qe
bu
bu
la
la
vo
vo
da
da
˙ œ œ# ˙ho
ho
ho
ho
vo
vo
ho
ho
.˙ œ ˙vo
vo
ho
ho
.Jœ Rœ œ .Jœ Rœ œvo
vo
di
di
laQ
laQ
vo
vo
di
di
laQ
laQ
œ œ œ œme
me
tad
tad
ga
ga
su
su
˙ ˙vo
vo
ho
ho
who
ho
Jœ Jœ Jœ Jœ .Jœ Rœ Jœ Jœ ˙vo
vo
de
de
la
la
di
di
la
la
ho
ho
de
de
la
la
ho
ho
œ œ œ œ œ# ˙qe
qe
bu
bu
la
la
vo
vo
da
da
˙ œ œ# ˙ho
ho
ho
ho
vo
vo
ho
ho
.˙ œ ˙vo
vo
ho
ho
- - - - - - - - - - - -
- - - - - - - -- - - -
V
V
?
?
œ œ œ œ ˙voQ
voQ
da
da
Qa
Qa
ho
ho
ho
ho
œ œ# œ œ ˙ya
ya
ra
ra
na
na
is
is
da
da
˙ œ œ ˙vo
vo
ho
ho
vo
vo
ho
ho
Ó ˙ ˙vo
vo
ho
ho
Andante A88
œ Jœ Jœ .Jœ Rœ Jœ Jœ ˙voQ
voQ
da
da
i
i
a
a
ho
ho
de
de
la
la
ho
ho
œ œ# œ œ ˙ya
ya
ra
ra
na
na
is
is
da
da
˙ œ œ ˙vo
vo
ho
ho
vo
vo
ho
ho
w ˙ho
ho
ho
ho
molto accelerando - A100 DF A193
.Jœ Rœ .Jœ Rœ .Jœ Rœ Jœ Jœ ˙va
va
i
i
a
a
i
i
a
a
i
i
a
a
ho
ho
ho
ho
œ œ œ œ# ˙ya
ya
na
na
Si
Si
o
o
da
da
˙ œ œ# ˙vo
vo
ho
ho
vo
vo
ho
ho
.˙ œ ˙ho
ho
vo
vo
ho
ho
Jœ Jœ JœJœ JœJœ JœJœ ˙
i
i
a
a
u
u
a
a
i
i
a
a
u
u
a
a
ho
ho
œ œ œ œ# ˙ya
ya
na
na
Si
Si
o
o
da
da
˙ œ œ# ˙vo
vo
ho
ho
vo
vo
ho
ho
.˙ œ ˙ho
ho
vo
vo
ho
ho
- - - - - - - - - - - -
- - - -- - - -- - - -
I choir II choir
I choir I choirII choir II choir
108
V
V
?
?
.Jœ Rœ# Jœ Jœ .Jœ Rœ .Jœ Rœ ˙
va
va
i
i
a
a
ho
ho
ha
ha
i
i
a
a
ho
ho
ho
ho
œ# œ œ œ ˙i
i
qa
qa
u
u
svams
svams
da
da
œ Œ œ œ# ˙vo
vo
ho
ho
vo
vo
ho
ho
.˙ œ ˙ho
ho
vo
vo
ho
ho
œ œ Jœ Jœ Jœ Jœ ˙voQ
voQ
da
da
i
i
o
o
de
de
la
la
ho
ho
œ# œ œ œ ˙i
i
qa
qa
u
u
svams
svams
da
da
œ# œ œ œ ˙vo
vo
ho
ho
ho
ho
vo
vo
ho
ho
.˙ œ ˙ho
ho
vo
vo
ho
ho
.Jœ Rœ .Jœ R
œ œ Rœ Rœ Jœ ˙va
va
i
i
a
a
i
i
a
a
de
de
la
la
vo
vo
ho
ho
œ# œ œ œ ˙u
u
Wa
Wa
mi
mi
a
a
da
da
˙ œ œ# ˙vo
vo
ho
ho
vo
vo
ho
ho
.˙ œ ˙ho
ho
vo
vo
ho
ho
.Jœ Rœ .Jœ R
œ .Jœ Rœ .Jœ Rœ ˙
va
va
i
i
a
a
i
i
a
a
i
i
a
a
ho
ho
ho
ho
œ# œ œ œ ˙u
u
Wa
Wa
mi
mi
a
a
da
da
œ# œ œ œ ˙vo
vo
ho
ho
ho
ho
vo
vo
ho
ho
.˙ œ ˙ho
ho
vo
vo
ho
ho
- - - - -- - - - -
- -- -- - - - - -
V
V
?
?
.Jœ Rœ .Jœ Rœ .Jœ Rœ .Jœ Rœ ˙
va
va
i
i
a
a
i
i
a
a
i
i
a
a
ho
ho
ho
ho
œ œ œ œ# œ œsxaps
sxaps
a
a
vu
vu
wyob
wyob
da
da
˙ œ œ# ˙vo
vo
ho
ho
vo
vo
ho
ho
.˙ œ ˙ho
ho
vo
vo
ho
ho
˙ .Jœ Rœ Jœ Jœ ˙ha
ha
Qa
Qa
ho
ho
de
de
la
la
ho
ho
œ œ œ œ# ˙sxaps
sxaps
a
a
vu
vu
wyob
wyob
da
da
˙ œ œ# ˙vo
vo
ho
ho
vo
vo
ho
ho
.˙ œ ˙ho
ho
vo
vo
ho
ho
.Jœ Rœ œ Jœ Jœ Jœ Jœ ˙vo
vo
di
di
lo
lo
di
di
la
la
ho
ho
ha
ha
ho
ho
œ œ œ œ# ˙da
da
vi
vi
Wi
Wi
rav
rav
da
da
œ# œ œ œ ˙vo
vo
ho
ho
ho
ho
vo
vo
ho
ho
.˙ œ ˙ho
ho
vo
vo
ho
ho
œ œ Jœ Jœ Jœ Jœ ˙voQ
voQ
dil
dil
di
di
lo
lo
de
de
la
la
ho
ho
œ œ œ œ# ˙da
da
vi
vi
Wi
Wi
rav
rav
da
da
œ# œ œ œ ˙vo
vo
ho
ho
ho
ho
vo
vo
ho
ho
.˙ œ ˙ho
ho
vo
vo
ho
ho
- - - - -- - - - -
- - -- - - -- - -
I choir I choirII choir II choir
I choir I choirII choir II choir
109
V
V
?
?
43
43
43
43
œ# œ Jœ Jœ Jœn Jœ ˙vo
vo
de
de
la
la
vo
vo
de
de
la
la
ho
ho
œ# œ œ œ ˙Toks
Toks
mo
mo
va
va
bam
bam
da
da.˙ œ# ˙ho
ho
vo
vo
ho
ho
.˙ œ ˙ho
ho
vo
vo
ho
ho
œ# œ Jœ Jœ Jœn Jœ ˙vo
vo
de
de
la
la
vo
vo
de
de
la
la
ho
ho
œ œ œ œ# ˙Toks
Toks
mo
mo
va
va
bam
bam
da
da
œ# œ œ œ ˙vo
vo
ho
ho
ho
ho
vo
vo
ho
ho
.˙ œ ˙ho
ho
vo
vo
ho
ho
.œ Jœ .œ Jœ ˙va
va
i
i
a
a
ho
ho
ho
ho
œ œ œ œ# ˙fex
fex
Si
Si
a
a
vo
vo
da
da.˙ œ# ˙ho
ho
vo
vo
ho
ho
.˙ œ ˙ho
ho
vo
vo
ho
ho
.œ Jœ .œ Jœ ˙va
va
u
u
a
a
ho
ho
ho
ho
œ œ œ œ# ˙fex
fex
Si
Si
a
a
vo
vo
da
da.˙ œ# ˙ho
ho
vo
vo
ho
ho
.˙ œ ˙ho
ho
vo
vo
ho
ho
- - - - -- - - - -
- -- - - -- - - -
V
V
?
?
43
43
43
43
42
42
42
42
œ œ œvo
vo
ha
ha
ho
ho
Jœ Jœ œ œi
i
a
a
vo
vo
he
he
˙ œho
ho
ho
ho
˙ œho
ho
ho
ho
Andante A100 poco a poco accelerando
Jœ Jœ œ œi
i
a
a
va
va
he
he
Jœ Jœ œ œi
i
a
a
va
va
he
he
˙ œho
ho
ho
ho
˙ œho
ho
ho
ho
.Jœ Rœ .Jœ Rœ œha
ha
u
u
a
a
ha
ha
ho
ho
jœ jœ œ# œi
i
a
a
vo
vo
he
he
˙ œho
ho
ho
ho
˙ œho
ho
ho
ho
.Jœ Rœ .Jœ Rœ œha
ha
u
u
a
a
ha
ha
ho
ho
jœ jœ œ# œi
i
a
a
vo
vo
he
he
˙ œho
ho
ho
ho
˙ œho
ho
ho
ho
Jœ Jœ .Jœ Rœ œ
ha
ha
u
u
a
a
ha
ha
ho
ho
jœ jœ œ# œi
i
a
a
vo
vo
he
he
˙ œho
ho
ho
ho
˙ œho
ho
ho
ho
.Jœ Rœ .Jœ Rœ œha
ha
u
u
a
a
ha
ha
ho
ho
jœ jœ œ# œi
i
a
a
vo
vo
he
he
˙ œho
ho
ho
ho
˙ œho
ho
ho
ho
I choir I choirII choir II choir
I choir I choir I choirII choir II choir II choir
110
V
V
?
?
42
42
42
42
44
44
44
44
∑
œ œvoQ
voQ
da
da
∑
∑
.Jœ Rœ Jœ Jœjœ .Jœ Rœ œ
va
va
i
i
a
a
ho
ho
i
i
a
a
ha
ha
ho
ho
.œ jœ œ# œa
a
ri
ri
ov
ov
da
da.˙ œho
ho
ho
ho
.œ Jœ œ œa
a
ri
ri
ov
ov
da
da
Andante A88
.Jœ Rœ Jœ Rœ Rœ Rœ .Jœ Rœ œ3
ha
ha
i
i
a
a
i
i
a
a
i
i
a
a
ha
ha
ho
ho
.œ jœ œ# œa
a
ri
ri
ov
ov
da
da.˙ œho
ho
ho
ho
.œ jœ œ œa
a
ri
ri
ov
ov
da
da
molto accelerando - A100 DF A176
.Jœ Rœ .Jœ Rœ .Jœ Rœ œha
ha
i
i
a
a
i
i
a
a
ha
ha
ho
ho
jœ jœ jœ jœ jœ jœ œa
a
ri
ri
ov
ov
da
da
i
i
ov
ov
da
da.˙ œho
ho
ho
ho
.œ jœ œ œa
a
ri
ri
ov
ov
da
da
V
V
?
?
.Jœ Rœ .Jœ Rœ .Jœ Rœ œha
ha
i
i
a
a
i
i
a
a
ha
ha
ho
ho
œ œ œ œa
a
ri
ri
ov
ov
da
da.˙ œho
ho
ho
ho
.œ jœ œ œa
a
ri
ri
ov
ov
da
da
.Jœ Rœ Jœ Jœ Rœ Rœ Rœrœ œ
ha
ha
i
i
a
a
ho
ho
i
i
a
a
vo
vo
ho
ho
ho
ho
œ œ œ# œze
ze
cas
cas
vi
vi
yav
yav.˙ œho
ho
ho
ho
.œ jœ œ œa
a
ri
ri
ov
ov
da
da
.Jœ Rœ Jœ Jœ œ œha
ha
i
i
a
a
ho
ho
ha
ha
ho
ho
œ œ œ# œze
ze
cas
cas
vi
vi
yav
yav.˙ œho
ho
ho
ho
œ œ œ œa
a
ri
ri
ov
ov
da
da
.Jœ Rœ .Jœ Rœ .Jœ Rœ œha
ha
i
i
a
a
i
i
a
a
ha
ha
ho
ho
œ œ# œ œze
ze
ca
ca
vna
vna
xe
xe.˙ œho
ho
ho
ho
.œ jœ œ œa
a
ri
ri
ov
ov
da
da
.Jœ Rœ .Jœ Rœ .Jœ Rœ œha
ha
i
i
a
a
i
i
a
a
ha
ha
ho
ho
œ# œ œ œze
ze
ca
ca
vna
vna
xe
xe.˙ œho
ho
ho
ho
œ jœ jœ œ œhe
he
a
a
vo
vo
va
va
ha
ha
- - - -- - - -
- - - - - - - -
I choir I choirII choir
I choir I choirII choir II choir II choir
111
V
V
?
?
.Jœ Rœ .Jœ Rœ .Jœ Rœ œQa
Qa
i
i
a
a
i
i
a
a
i
i
a
a
œ œ# œ œvar
var
skvla
skvla
veb
veb
sa
sa
.˙ œho
ho
ho
ho
œ œ œ œhe
he
a
a
va
va
ha
ha
.Jœ Rœ .Jœ Rœ .Jœ Rœ œha
ha
i
i
a
a
i
i
a
a
i
i
a
a
œ# œ œ œvar
var
skvla
skvla
veb
veb
sa
sa
.˙ œho
ho
ho
ho
œ œ œ œhe
he
a
a
va
va
ha
ha
.Jœ Rœ .Jœ Rœ .Jœ Rœ œQa
Qa
i
i
a
a
i
i
a
a
ha
ha
ho
ho
œ œ œ œda
da
ve
ve
na
na
xe
xe
.˙ œho
ho
ho
ho
œ œ œ œhe
he
a
a
va
va
ha
ha
.Jœ Rœ .Jœ Rœ .Jœ Rœ œha
ha
i
i
a
a
i
i
a
a
i
i
a
a
œ œ œ œda
da
ve
ve
na
na
xe
xe
.˙ œho
ho
ho
ho
œ œ œ œhe
he
a
a
va
va
ha
ha
œ œ .Jœ Rœ œQa
Qa
Qa
Qa
Qa
Qa
ha
ha
ho
ho
œ œ œ œmTva
mTva
rem
rem
ka
ka
ci
ci
.˙ œho
ho
ho
ho
œ œ œ œhe
he
a
a
va
va
ha
ha
- - - - - - - -- - - - - -
- - - -- - - -- - - - - -
V
V
?
?
42
42
42
42
œ œ œ œQa
Qa
Qa
Qa
Qa
Qa
ho
ho
œ œ œ œmTva
mTva
rem
rem
ka
ka
ci
ci
.˙ œho
ho
ho
ho
œ œ œ œhe
he
a
a
va
va
ha
ha
œ œ œ œQa
Qa
Qa
Qa
Qa
Qa
ho
ho
œ œ œ# œmo
mo
mi
mi
gzav
gzav
na
na
.˙ œho
ho
ho
ho
œ œ œ œhe
he
a
a
va
va
ha
ha
œ œ œ œQa
Qa
Qa
Qa
Qa
Qa
ho
ho
œ œ œ# œmo
mo
mi
mi
gzav
gzav
na
na
.˙ œho
ho
ho
ho
œ œ œ œhe
he
a
a
va
va
ha
ha
œ œ œ œQa
Qa
Qa
Qa
Qa
Qa
ho
ho
œ œ œ# œaq
aq
Tu
Tu
i
i
yav
yav
.˙ œho
ho
ho
ho
œ œ œ œhe
he
a
a
va
va
ha
ha
œ œ œ œQa
Qa
Qa
Qa
Qa
Qa
Qa
Qa
œ# œ œ œaq
aq
Tu
Tu
i
i
yav
yav
.˙ œho
ho
ho
ho
œ œ œ œhe
he
a
a
va
va
ha
ha
œ œ œ œQa
Qa
Qa
Qa
Qa
Qa
Qa
Qa
œ# œ œ œrad
rad
ar
ar
mna
mna
xe
xe
.˙ œho
ho
ho
ho
œ œ œ œhe
he
a
a
va
va
ha
ha
œ œ œ œQa
Qa
Qa
Qa
Qa
Qa
Qa
Qa
œ# œ œ œrad
rad
ar
ar
mna
mna
xe
xe
.˙ œho
ho
ho
ho
œ œ œ œhe
he
a
a
va
va
ha
ha
- - - - -- - - - - - -
- -- -- - - - - - - -
I choir I choir I choirII choir II choir
II choir II choir II choir II choirI choir I choir I choir
112
V
V
?
?
42
42
42
42
Jœ Jœ œha
ha
i
i
a
a
jœ# jœ œa
a
ri
ri
a
a.œ ‰vo
vo
œ œi
i
o
o
Moderato A112
œ œi
i
a
a
œ# œi
i
o
o
œ œvo
vo
ho
ho
œ œi
i
o
o
molto accelerando al fine - A116 DF A176
œ œi
i
o
o
œ# œi
i
o
o
œ œvo
vo
ho
ho
œ œi
i
o
o
œ œi
i
o
o
œ# œi
i
o
o
œ œvo
vo
ho
ho
œ œi
i
o
o
œ œi
i
o
o
œ# œi
i
o
o
œ œvo
vo
ho
ho
∑
.jœ rœ œvo
vo
de
de
la
la
œ# œi
i
o
o
œ œvo
vo
ho
ho
œ œi
i
o
o
œ œi
i
o
o
œ# œi
i
o
o
œ œvo
vo
ho
ho
∑
œ œi
i
o
o
jœ# jœ œi
i
a
a
vo
vo
∑
œ œi
i
o
o
œ œi
i
o
o
œ# œi
i
o
o
œ œvo
vo
ho
ho
œ œvo
vo
ho
ho
œ œi
i
o
o
œ œvoQ
voQ
da
da
œ œvo
vo
ho
ho
œ œvo
vo
ho
ho
V
V
?
?
œ œi
i
o
o
œ# œi
i
o
o
œ œvo
vo
ho
ho
œ œvo
vo
ho
ho
œ œ œi
i
o
o
œ œvo
vo
ho
ho
œ œvo
vo
ho
ho
œ œvo
vo
ho
ho
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
œ Œ
œ Œ
œ Œ
œ Œ
œ œvo
vo
ho.
ho.
œ œvo
vo
ho.
ho.
œ œvo
vo
ho.
ho.
œ œvo
vo
ho.
ho.
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
œ Œ
œ Œ
œ Œ
œ Œ
I choir I choir I choir I choir I choir
I choir
II choir II choir II choir II choir II choir
II choir I choir and II choir
113
V
V
?
bbb b
b b b b
b b b b
45
45
45
44
44
44
46
46
46
44
44
44
45
45
45
44
44
44
∑
˙ ˙ jœ jœvoQvoQ
dada
aa
haha
∑
Andante A84
∑
.œ œ œ œ ˙hoho
aa
haQhaQ
dada
∑
∑
∑
w œvovo
∑
.œb jœ ˙aa
ii
dada
∑
∑
∑
w ¿ Œvovo
aa
∑
˙ œ jœ jœvoQvoQ
dada
aa
haha
∑
∑
.œ jœ .œ œ ‰hoho
aa
haQhaQ
dada
∑
~~~
~~
~~~~
V
V
?
bbb b
b b b b
b b b b
44
44
44
46
46
46
44
44
44
43
43
43
∑
∑
wvovo
∑
.œb jœ ˙aa
ii
dadaw
∑
∑
w ¿ Œhoho
aa
∑
.œ jœ jœ jœ jœ jœvovo
ii
nana
nana
sasa
vovo
∑
∑
.œ ‰ .jœ rœ jœb jœdada
aa
haha
haha
haha
∑
poco a poco accelerando ˙ Jœn Jœ œhoQhoQ
didi
ee
lolo
˙ Jœjœ œn œ jœ
haha
didi
ee
lolo
vovo
∑
.œ Jœn .œ ‰hoho
ii
dada
.œ jœ .œ ‰hoho
ii
dada
∑
~~~~~~
3. Semoqmedura@@@@
Shemokmedura
I choir II choir
I choir
guria
Guria
114
V
V
?
bbb b
b b b b
b b b b
43
43
43
44
44
44
∑
∑
.˙vovo
poco a poco accelerando
∑
.jœ rœ .jœ rœ .jœ rœ œ œ jœhaha
didi
lala
didi
lala
didi
lala
vovo
w
∑
.jœ rœ jœ jœ œ œaa
haha
haha
haha
haha
w
∑
.˙ Œhoho.˙ Œhoho
∑
.œ jœ jœ jœ jœ jœvovo
ii
nana
nana
sasa
vovo
∑
a tempo
∑
.œ ‰ .jœ rœ jœ jœdada
aa
haha
haha
haha
∑
~~~~~~
~~~~~~
V
V
?
bbb b
b b b b
b b b b
˙ Jœn Jœ œhoho
didi
ee
lolo
˙ jœ jœ œhaha
didi
aa
lolo
∑
.œ Jœn .œ ‰hoho
ii
dada
.œ jœ .œ ‰haha
ii
dada
∑
∑
∑
wvovo
∑
.jœ rœ .jœ rœ .jœ rœ œ œ jœaa
didi
lala
didi
lala
didi
lala
vovo
w
∑
.jœ rœ jœ jœ œ œaa
haha
haha
haha
haha
w
∑
.˙ Œhoho.˙ Œhoho
~~~~~~~~~
~~~~~~~
II choir
115
V
V
?
bbb b
b b b b
b b b b
43
43
43
44
44
44
∑
∑
.˙ Rœ Rœ Jœvava
hehe
aa
vovo
Andante A92
.Jœ Rœ Jœ Jœ Jœ Jœ Jœ Jœii
ruru
didi
lala
vovo
vovo
dede
lala
∑
œ œ œ œvava
haha
hehe
hehe
˙ Jœ ‰vovo
∑
˙ Œhehe
Œ Rœ Rœ Rœ Rœ .œ ‰ii
ruru
didi
lala
vovo
∑
˙ .œ JœvaQvaQ
haha
aa
poco a poco accelerando
Œ Rœ Rœ Rœ Rœ .œ ‰ii
ruru
didi
lala
vovo
.Jœ Rœ .Jœ Rœjœ jœ œ
vovo
riri
vovo
dede
lili
aa
dada
.œ Jœ Jœ Jœ œhehe
aa
hehe
aa
vava
∑
œ Œ .œ Jœdada
dede
lolo
.œ ‰ .œ JœvaQvaQ
hehe
aa
˙ .œ
V
V
?
bbb b
b b b b
b b b b
45
45
45
44
44
44
42
42
42
∑
.œ Jœjœ jœ œ
dede
lolo
dede
lala
dada
˙ Jœ Jœ œvava
hehe
aa
vava
∑
. .˙ ‰dada
. .˙ ‰dada
Jœ Jœ Jœ Jœ ˙ Jœ ‰didi
lala
vovo
didi
laQlaQ
∑
∑
∑
∑
.œ Jœ œ œvovo ri
ri vovvov
dede
∑
∑
œ œ œ Jœ ‰lili
aa
sasa
vovo
.œn Jœ .œ Jœvovo
dede
lala
didi
.œ Jœ .œn Jœvovo
dede
lala
didi
whehe
.œ Jœ ˙lala
haha
hoho
.œ Jœn ˙lala
vovo
hoho
˙ ˙aa
.˙ Œhoho
.˙ Œhoho
.˙ Œhoho
I choir
116
V
V
?
?
bbb b
b b b b
b b b b
b b b b
42
42
42
42
44
44
44
44
42
42
42
42
44
44
44
44
∑
.Jœ Rœ Jœ œ œdede
lili
vovo
hoho
∑
˙hehe
Largo A52
Rœ Rœ Rœ Rœ Rœ Rœ .Rœ RÔœ R
œ Rœ .Rœ RÔœ Rœ Rœ .Rœ RÔœ
uu
ruru
aa
hoho
uu
ruru
aa
hoho
uu
ruru
aa
hoho
uu
ruru
aa
hohojœ jœ jœ jœ jœ jœ jœ rœ ≈
sxvasxva
TaTa
momo
jaja
mama
gigi
roro
basbasw
vovo
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœsxvasxva
TaTa
momo
jaja
mama
gigi
roro
basbas
poco a poco accelerando
Rœ Rœ .Rœ RÔœ Rœ Rœ .Rœ RÔœ
.Rœ RÔœ Rœrœ rœb rœ Rœ rœ
uu
ruru
aa
hoho
uu
ruru
aa
hoho
hoho
vovo
dede
lala
aa
baba
dede
lalajœ jœ jœ jœ rœb rœ rœ rœ rœ rœ rœ rœ
aa
dvidvi
ladlad
ii
tyvistyvis
ee
nana
vovo
aa
baba
dede
lala.˙ Œ
Jœ Jœ Jœ Jœ Jœ Jœ Rœ Rœrœb ≈
aa
dvidvi
ladlad
ii
tyvistyvis
ee
nana
vovo
dada
.jœ rœ jœ jœvovo
riri
dede
lala
.jœb rœ jœ jœvovo
ruru
dede
lala
∑
.Jœ Rœ Jœ Jœvovo
riri
dede
lala
- - - - - - - - - - -
- - - - - - - - - - - -
- - - - - -- - - - -
- - - - - - - - - - - -
V
V
?
?
bbb b
b b b b
b b b b
b b b b
44
44
44
44
42
42
42
42
44
44
44
44
Rœ Rœ .Rœ RÔœ Rœ Rœ .Rœ RÔœ R
œ Rœ .Rœ RÔœ Rœ Rœ .Rœ RÔœ
ii
riri
aa
hoho
uu
ruru
aa
hoho
ii
riri
aa
hoho
uu
ruru
aa
hohojœ jœ jœ jœ jœ jœ jœ rœ ≈
didi
lili
dandan
sasa
RaRa
mommom
didi
sinsinw
vovo
wvovo
Rœ Rœ .Rœ RÔœ Rœ Rœ Jœ Rœ Rœ Rœ
rœ rœb rœ Rœ rœii
riri
aa
hoho
uu
ruru
aa
hoho
rere
rara
dada
aa
baba
dede
lalajœ jœ jœ jœ Rœ Rœ Rœ
rœ rœb rœ rœ rœarar
mqonmqon
dada
momo
svesve
nene
baba
vovo
aa
baba
dede
lala. .˙ ‰
.˙ Rœ Rœjœb
riri
rara
.jœ rœ jœ jœvovo
riri
dede
lala
.jœb rœ jœ jœaa
riri
dede
lala
∑
.Jœ Rœ Jœ Jœvovo
riri
dede
lala
- - - - - - - - - - -- - - - - - -- - - -
II choir
117
V
V
?
?
bbb b
b b b b
b b b b
b b b b
44
44
44
44
42
42
42
42
44
44
44
44
Rœ Rœ .Rœ RÔœ Rœ Rœ .Rœ RÔœ R
œ Rœ .Rœ RÔœ Rœ Rœ .Rœ RÔœ
uu
ruru
aa
hoho
uu
ruru
aa
hoho
uu
ruru
aa
hoho
uu
ruru
aa
hohojœ jœ jœ jœ jœ jœ jœ jœ
didi
liTliT
ZroZro
xaxa
SiSi
mgzavmgzav
nidnid
nennenw
vovo
wvava
Rœ Rœ .Rœ RÔœ Rœ Rœ .Rœ RÔœ
.Rœ RÔœ Rœrœ rœb rœ Rœ rœ
uu
ruru
aa
hoho
uu
ruru
aa
hoho
hoho
vovo
dede
lala
aa
baba
dede
lalajœ jœ jœ jœ rœb rœ rœ rœ rœ rœ rœ rœ
sasa
RaRa
mosmos
RoRo
risris
keke
nana
vovo
aa
baba
dede
lala. .˙ ‰
˙ Jœ Jœ Rœb Rœ Rœ ≈haQhaQ
hehe
aa
vava
.jœ rœ jœ jœvovo
riri
dede
lala
.jœb rœ jœ jœvovo
ruru
dede
lala
∑
.Jœ Rœ Jœ Jœvovo
riri
dede
lala
- - - - - - - -- - -- - - - - -- - - - -
V
V
?
?
bbb b
b b b b
b b b b
b b b b
44
44
44
44
42
42
42
42
44
44
44
44
Rœ Rœ RœRœ Rœ RœRœ Rœ RœRœ RœRœ Rœ RœRœ Rœ
ii
aa
uu
aa
hoho
uu
aa
hoho
ii
aa
uu
aa
hoho
uu
aa
hohojœ jœ jœ jœ jœ jœ jœ rœ ≈
qorqor
meme
ZeZe
brebsbrebs
TanTan
mama
tantan
dnendnenw
vovo
wvava
Rœ Rœ RœRœ Rœ R
œJœ .Rœ RÔœ Rœ
rœ rœb rœ Rœ rœii
aa
uu
aa
hoho
uu
aa
hoho
rere
rara
dada
aa
baba
dede
lalajœ jœ jœ jœ Rœ Rœ Rœ
rœ rœb rœ rœ rœxomxom
ii
nana
didi
rebreb
SeSe
nana
vovo
aa
baba
dede
lala. .˙ ‰
˙ œb Rœ Rœ Rœ rœbhehe
vovo
dede
lala
.jœ rœ jœ jœvovo
riri
dede
lala
.jœb rœ jœ jœvovo
riri
dede
lala
∑
.Jœ Rœ Jœ Jœvovo
riri
dede
lala
- - - - - - - - - -- - - - - -- - - -
I choir
II choir
118
V
V
?
?
bbb b
b b b b
b b b b
b b b b
44
44
44
44
42
42
42
42
44
44
44
44
Rœ Rœ RœRœ Rœ RœRœ Rœ RœRœ RœRœ Rœ RœRœ Rœ
ii
aa
uu
aa
hoho
uu
aa
hoho
ii
aa
uu
aa
hoho
uu
aa
hohojœ jœ jœ jœ jœ jœ jœ jœ
TuTu
kurkur
dRedRe
lili
dada
ii
WiWi
rorow
vovo
wvava
Rœ Rœ RœRœ Rœ R
œRœ Rœ Rœ Rœ Rœ
rœ rœb rœ Rœ rœii
aa
uu
aa
hoho
uu
aa
hoho
hoho
vovo
dede
lala
aa
baba
dede
lalajœ jœ jœ jœ .rœ rKœ rœb rœ rœ rœ rœ rœ
xorxor
cici
CvenCven
tyatya
vivi
SeSe
nana
vovo
aa
baba
dede
lala. .˙ ‰
. .˙ ‰
.jœ rœ jœ jœvovo
riri
dede
lala
.jœb rœ jœ jœvovo
ruru
dede
lala
∑
.Jœ Rœ Jœ Jœvovo
riri
dede
lala
- - - - - - - -- - -- - - - -
--
V
V
?
?
bbb b
b b b b
b b b b
b b b b
44
44
44
44
.Jœn Rœ .Jœ Rœ .Jœ Rœ œvovo
dede
lala
uu
aa
haha
hoho
.Jœ Rœ œn .Jœ Rœ œvovo
dede
lala
vava
haha
hoho.˙ œ
hehe
aa˙ Jœ Jœ œ
hehe
aa
haha
Adagio A69
.Jœn Rœ .Jœ Rœ .Jœ Rœ œvovo
dede
lala
uu
aa
haha
hoho
.Jœ Rœ .Jœn Rœ .Jœ Rœ œvovo
dede
lala
didi
lala
haha
hoho.˙ œ
hehe
aa.˙ œ
hehe
aa
poco a poco accelerando - A73 DF A100
Jœn Jœ .Jœ Rœ .Jœ Rœ œvovo
dede
lala
uu
aa
haha
hoho
.Jœ Rœ œn .Jœ Rœ œvovo
dede
lala
vava
haha
hoho.˙ œ
hehe
aa˙ Jœ Jœ œ
hehe
aa
haha
I choir
II choir I choir II choir
119
V
V
?
?
bbb b
b b b b
b b b b
b b b b
Jœn Jœ Jœ Rœ Rœ Jœ Jœ œvovo
dede
lala
dede
lala
vovo
dede
lala
.Jœ Rœ œn Jœ Jœ œvovo
dede
laQlaQ
vovo
dede
lala.˙ œ
hehe
aa˙ Jœ Jœ œ
heQheQ
dada
haha
Jœn Jœ Jœ Rœ Rœ Jœ Jœ œvovo
dede
lala
dede
lala
hoho
dede
lala
Jœ Jœ œn Jœ Jœ œvovo
dede
lala
vovo
hoho
hoho.˙ œ
hehe
aa˙ Jœ Jœ œ
hehe
oo
hoho
hoho
Jœn Jœ Jœ Rœ Rœ Jœ Jœ œvovo
dede
lala
dede
lala
hoho
dede
lala
.Jœ Rœ Jœn Rœ Rœ Jœ Jœ œvovo
dede
lala
dede
lala
vovo
dede
lala˙ Ó
hehe.œ ‰ Jœ Jœ œhehe
ee
hehe
haha
V
V
?
?
bbb b
b b b b
b b b b
b b b b
Rœ Rœ RœRœ Rœ R
œRœ Rœ R
œRœ RœRœ Rœ R
œRœ Rœn
ii
aa
uu
aa
hoho
uu
aa
hoho
ii
aa
uu
aa
hoho
uu
aa
hohojœ jœ jœ jœ jœ jœ jœ jœ
sxvasxva
TaTa
momo
jaja
mama
gigi
roro
basbasw
vovo
. .˙ ‰vava
Adagio A67
Rœ Rœn Rœ Rœ Rœ Rœ Rœ Rœ .Rœ RÔœrœ rœ rœ rœ jœ
didi
lala
hoho
didi
lala
hoho
didi
lala
hoho
rere
rara
vovo
aa
didi
lala
Jœ Jœ Jœ Jœrœ Rœ
rœ rœ rœ rœ jœaa
dvidvi
ladlad
ii
tyvistyvis
ee
nana
vovo
nana
nini
nana
∑
.˙ Rœ Rœ Jœhehe
aa
vava
- - - - - - - - - - -- - - - - -- - - - -
I choir II choir I choir
II choir
120
V
V
?
?
bbb b
b b b b
b b b b
b b b b
Rœ Rœ RœRœ Rœ R
œRœ Rœ R
œRœ RœRœ Rœ R
œRœ Rœn
ii
aa
uu
aa
hoho
uu
aa
hoho
ii
aa
uu
aa
hoho
uu
aa
hohojœ jœ jœ jœ jœ jœ jœ jœ
didi
liTliT
ZroZro
xaxa
SiSi
mgzavmgzav
nini
dnendnenw
vovo
wvava
poco a poco accelerando
Rœ Rœn Rœ Rœ Rœ Rœ Rœ Rœ Rœ Rœrœ rœ rœ rœ jœ
didi
lala
hoho
didi
lala
vovo
didi
lala
hoho
vovo
dede
lala
nana
nini
nana
Jœ Jœ Jœ Jœrœ Rœ
rœ rœ rœ rœ jœsasa
RaRa
mosmos
RoRo
risris
keke
nana
vovo
nana
nini
nana
∑
˙ Jœ Rœ rœ Rœrœ Jœ
hehe
didi
lala
haha
didi
lala
- - - - - - - - - - -- -- - - -- - - - -
V
V
?
?
bbb b
b b b b
b b b b
b b b b
Rœ Rœ .Rœ RÔœ Rœ Rœ .Rœ RÔœ R
œ Rœ .Rœ RÔœ Rœ Rœ .Rœ RÔœn
ii
riri
aa
hoho
uu
ruru
aa
hoho
ii
riri
aa
hoho
uu
ruru
aa
hohojœ jœ jœ jœ jœ jœ jœ jœ
qorqor
meme
ZeZe
brebsbrebs
TanTan
mama
tantan
dnendnenw
vovo
wvava
Rœ Rœn Rœ Rœ Rœ Rœ Rœ Rœ Rœ Rœrœ rœ rœ rœ jœ
didi
lala
hoho
didi
lala
hoho
didi
lala
hoho
rere
rara
dada
nana
nini
nana
Jœ Jœ Jœ Jœrœ Rœ
rœ rœ rœ rœ jœxomxom
ii
nana
didi
rebreb
SeSe
nana
vovo
nana
nini
nana
∑
.˙ Rœ Rœ Jœhehe
aa
vava
- - - - - - - - - -- -- - - -- - - -
I choir
II choir
121
V
V
?
?
bbb b
b b b b
b b b b
b b b b
42
42
42
42
Rœ Rœ .Rœ RÔœ Rœ Rœ .Rœ RÔœ R
œ Rœ .Rœ RÔœ Rœ Rœ .Rœ RÔœn
uu
ruru
aa
hoho
uu
ruru
aa
hoho
uu
ruru
aa
hoho
uu
ruru
aa
hohojœ jœ jœ jœ jœ jœ jœ jœ
dada
TuTu
meme las
las dada
ii
WiWi
ravravw
vovo
. .˙ ‰vava
Rœ Rœn Rœ Rœ Rœ Rœ Rœ Rœ Rœ Rœrœ rœ rœ rœ jœ
didi
lala
hoho
didi
lala
vovo
didi
lala
hoho
vovo
deldel
aa
nana
nini
nana
Jœ Jœ Jœ Jœ Jœ jœ rœ rœ jœtyatya
vivi
CvenCven
xorxor
cici
SeSe
nana
nini
nana
∑
.˙ Rœ Rœ ‰hehe
ii
- - - - - - -- -- - - - -
V
V
?
?
bbb b
b b b b
b b b b
b b b b
42
42
42
42
∑
∑
.œ Jœhoho
haha
Jœ Œ .haha
Adagio A73
∑
∑
.œ Jœhoho
aa
∑
poco a poco accelerando
.Rœ RÔœ .Rœ RÔœ .Rœ RÔœ Rœ ≈
haha
ii
aa
uu
aa
haha
hoho
∑
.œ Jœhoho
haha
œ Œhaha
∑
∑
.œ Jœhoho
haha
∑
.Rœ RÔœJœ œ
haha
uu
aa
hoho
∑
œ œhoho
haha
œ Œhaha
.Rœ RÔœJœ œ
haha
uu
aa
hoho
∑
œ œhoho
haha
.œ ‰haha
.Rœ RÔœJœ œ
haha
uu
aa
hoho
∑
œ œhoho
haha
.œ ‰haha
Jœ RœRœ œ
haha
uu
aa
hoho
∑
.œ Jœhoho
haha
œ Œhaha
I choir
I choir I choir I choir I choirII choir II choir II choir II choir
122
V
V
?
?
bbb b
b b b b
b b b b
b b b b
.Rœ RÔœJœ œ
haha
uu
aa
hoho
œn œii
oo.œ Rœ ≈
hoho
haha
œ Œhaha
∑
œb Jœ ‰ii
ooœ Jœ ‰
hoho
aa
œ Œhaha
∑
œ Jœ ‰ii
ooœ Jœ ‰
hoho
aa
œ Œhaha
∑
œ Jœ ‰ii
ooœ Jœ ‰
hoho
aa
œ Œhaha
∑
œ Jœ ‰ii
ooœ Jœ ‰
hoho
aa
œ Œhaha
∑
œ Jœ ‰ii
ooœ Jœ ‰
hoho
aa
œ Œhaha
∑
œ Jœ ‰ii
oo.œ Jœ
hoho
aa
œ Œhaha
∑
œ Jœ ‰ii
oo.œ ‰
hoho
œ Œhaha
V
V
?
?
bbb b
b b b b
b b b b
b b b b
∑
œ Jœ ‰ii
ooœ Jœ ‰
hoho
aa
œ Œhaha
molto accelerando al fine - A120 DF A208
∑
œ Jœ ‰ii
oo.œ ‰
hoho
œ Œhaha
∑
œ Jœ ‰ii
ooœ Jœ ‰
hoho
aa
œ Œhaha
∑
œ Jœ ‰ii
oo.œ ‰
hoho
œ Jœ ‰ii
oo
∑
œ Jœ ‰ii
ooœ Jœ ‰
hoho
aa
œ Œhaha
∑
œ Jœ ‰ii
ooœ Jœ ‰
ii
oo
œ Jœ ‰ii
oo
∑
œ Jœ ‰ii
ooœ Jœ ‰
hoho
aa
œ Œhaha
∑
œ Jœ ‰ii
ooœ Jœ ‰
ii
oo
œ Jœ ‰ii
oo
I choir I choir I choir I choir
I choir I choir I choir I choir
II choir II choir II choir II choir
II choir II choir II choir II choir
123
V
V
?
?
bbb b
b b b b
b b b b
b b b b
∑
œ Jœ ‰ii
ooœ Jœ ‰
hoho
aa
œ Œhaha
∑
œ Jœ ‰ii
ooœ Œ
hoho
œ Œhaha
∑
œ Jœ ‰ii
ooœ Œ
hoho
œ Œhaha
∑
∑
œ Œhoho
œ Œhaha
∑
œ Jœ ‰ii
ooœ Œ
hoho
œ Œhaha
∑
∑
œ Œhoho
œ Jœ ‰ii
oo
∑
œ Jœ ‰ii
ooœ Œ
hoho
œ Œhaha
∑
∑
œ Œhoho
œ Jœ ‰ii
oo
V
V
?
?
bbb b
b b b b
b b b b
b b b b
44
44
44
44
46
46
46
46
∑
œ Jœ ‰ii
ooœ Jœ ‰
hoho
aa
œ Œhaha
∑
∑
œ Œhoho
œ Jœ ‰ii
oo
∑
œ Jœ ‰ii
ooœ Jœ ‰
hoho
aa
œ Œhaha
∑
∑
œ Œhoho
œ Jœ ‰ii
oo
∑
œ Jœ ‰ii
ooœ Jœ ‰
hoho
aa
œ Œhaha
∑
∑
œ Œhoho
œ Jœ ‰ii
oo
∑
œ Jœ ‰ii
ooœ Jœ ‰
hoho
aa
œ Œhaha
.˙b œvovo
hoho
.˙b œvovo
hoho
.˙b œvovo
hoho
.˙b œvovo
hoho
Moderato A112
.who.ho.
.who.ho..who.ho..who.ho.
I choir I choir I choir I choir
I choir I choir I choir I choir and II choirII choirII choirII choirII choir
II choirII choirII choirII choir
124
V
V
?
V
V
?
b
b
b
b
b
b
47
47
47
47
47
47
44
44
44
44
44
44
42
42
42
42
42
42
44
44
44
44
44
44
∑
œ jœ jœ Jœ Jœ œ œ .Jœ .Jœ œ Jœ Jœhe
he
he
he
he
he
he
he
he
he
he
he
he
he
he
he
he
he
i
i
da
da
∑
∑
∑
∑
1)
Andante A88
Œ . Jœ œb œ œQa
Qa
ho
ho
ho
ho
œ Jœ Jœ œ œ œ Jœho
ho
ho
ho
ri
ri
vo
vo
ho
ho
∑
∑
∑
∑
œ Œho
ho
œ Œho
ho
∑
∑
∑
∑
œ Jœ Jœn Jœ Jœ Jœ Jœ
vo
vo
u
u
a
a
o
o
ha
ha
u
u
a
a
œ œ Jœ œ Jœvo
vo
ho
ho
ho
ho
ho
ho
∑
∑
∑
∑
˙ Óho
ho
˙ Óho
ho
Ó ˙Qo
Qo
∑
∑
∑
~~~~~~
~~~~~
4. yanuri@@@@
Qanuri
1) sinamdvileSi audio CanawerSi simRera iwyeba sol bemolidan da TandaTan maRldeba kvartiT varskvlaviT aRniSnul adgilamde (gv. 153).
1) Actually, in the recording the song starts with G flat and gradually goes up to the place marked with asterisk (page 153).
I choir
II choir
guria
Guria
125
V
V
?
V
V
?
b
b
b
b
b
b
42
42
42
42
42
42
44
44
44
44
44
44
.œ Jœ Jœ JœJœ Jœ
Qa
Qa
u
u
a
a
u
u
a
a
u
u
.œ jœ œ Œa
a
i
i
da
daw
∑
∑
∑
Jœ Ó . .a
a
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœer
er
Txel
Txel
mxo
mxo
lod
lod
i
i
sic
sic
Zil
Zil
Si
Siw
∑
∑
∑
Jœ Jœ JœJœ JœJœ JœJœ
i
i
a
a
u
u
a
a
u
u
a
a
u
u
a
a
œ Œ jœ Jœ œda
da
e
e
he
he
he
hew
∑
∑
∑
˙ho
ho
˙he
he
∑
∑
∑
∑
∑
∑
∑
œ œ JœJœ JœJœ
e
e
ha
ha
u
u
a
a
u
u
a
a
œ œ .œ jœe
e
ha
ha
he
he
a
a
∑
∑
∑
∑
œ œb Jœ Œ .ho
ho
ha
ha
ho
ho
œ œ œ œbha
ha
ha
ha
ho
ho
ho
ho
∑
- - - -
- - - -
126
V
V
?
V
V
?
b
b
b
b
b
b
42
42
42
42
42
42
44
44
44
44
44
44
42
42
42
42
42
42
44
44
44
44
44
44
∑
∑
∑
Jœ JœJœ JœJœ JœJœb Jœ
ha
ha
u
u
a
a
u
u
a
a
u
u
o
o
ho
ho
Jœ Œ . œb jœ Jœho
ho
eQ
eQ
vo
vo
ha
ha
∑
∑
∑
∑
œ Œda
da
œ Œda
da
∑
∑
∑
∑
œ Jœ Jœn Jœ Jœ Jœ Jœ
vo
vo
u
u
a
a
o
o
ha
ha
u
u
a
a
œ Jœ jœn Jœ œ Jœva
va
he
he
a
a
o
o
ha
ha
ha
ha
∑
∑
∑
∑
˙ Óho
ho
˙ Óho
ho
Ó ˙ho
ho
∑
∑
∑
.œ Jœ Jœ JœJœ Jœ
ho
ho
u
u
a
a
u
u
a
a
i
i
.œ Jœ Jœ Jœjœ jœ
o
o
i
i
er
er
Ti
Ti
ra
ra
me
mew
∑
∑
∑
œ œ œ Œa
a
u
u
a
a
œ œ œ œ œmi
mi
xa
xa
ri
ri
a
aw
∑
∑
∑
‰ Jœ JœJœ JœJœ JœJœ
ha
ha
u
u
a
a
u
u
a
a
u
u
o
o
œ Œ jœ jœ Jœ Jœda
da
e
e
he
he
ho
ho
a
aw
∑
∑
∑
˙da
da
˙ho
ho
∑
~~~~
~~~~
- - - - -
- - - - -
127
V
V
?
V
V
?
b
b
b
b
b
b
44
44
44
44
44
44
42
42
42
42
42
42
44
44
44
44
44
44
43
43
43
43
43
43
44
44
44
44
44
44
œ œ Jœ Jœ JœJœ
e
e
ha
ha
u
u
a
a
u
u
a
a
˙ œ Rœ œ œe
e
he
he
he
he
∑
∑
∑
∑
Jœ Jœ JœJœ œ Œ
o
o
ha
ha
u
u
a
a
ho
ho
œ œ .œ Jœbe
e
he
he
he
he
i
i
∑
∑
∑
∑
Jœ JœJœ JœJœ JœJœn Jœ
ha
ha
u
u
a
a
u
u
a
a
u
u
o
o
ho
ho
œ Jœ Jœ œ œ jœ jœ Jœhe
he
i
i
he
he
i
i
vo
vo
ho
ho
∑
∑
∑
∑
œ Œho
ho
œ Œho
ho
∑
∑
∑
∑
œ Jœ Jœ Jœ Jœ JœJœ
vo
vo
u
u
a
a
o
o
ha
ha
u
u
a
a
œ œ Jœ œ Jœvo
vo
ho
ho
ho
ho
ho
ho
∑
∑
∑
∑
.œ Œ .ho
ho
.œ Œ .ho
ho
Œ . .œho
ho
∑
∑
∑
128
V
V
?
V
V
?
b
b
b
b
b
b
44
44
44
44
44
44
42
42
42
42
42
42
44
44
44
44
44
44
.œ Jœ Jœ JœJœ Jœ
vo
vo
u
u
a
a
u
u
a
a
u
u
.œ jœ œ Œa
a
i
i
da
daw
∑
∑
∑
Jœ Ó . .a
a
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœ[vna
[vna
xe
xe
qar
qar
Tvel
Tvel
qal
qal
Ta
Ta
kre
kre
ba]
ba]w
∑
∑
∑
Jœ Jœ JœJœ JœJœ JœJœ
i
i
ha
ha
u
u
a
a
i
i
a
a
u
u
a
a
œ Œ jœ Jœ œda
da
o
o
ho
ho
ho
how
∑
∑
∑
˙ho
ho
˙ho
ho
∑
∑
∑
∑
∑
∑
∑
œ œ JœJœ JœJœ
e
e
ha
ha
u
u
a
a
u
u
a
a
œ œ .œ jœe
e
ha
ha
he
he
a
a
∑
∑
∑
∑
œ œ œ Œvo
vo
ha
ha
ho
ho
œ œ œ œbva
va
ha
ha
ho
ho
ho
ho
∑
- - - -
- - - -
129
V
V
?
V
V
?
b
b
b
b
b
b
42
42
42
42
42
42
44
44
44
44
44
44
43
43
43
43
43
43
44
44
44
44
44
44
∑
∑
∑
Jœ JœJœ JœJœ Rœ Rœ Jœ Jœ
ha
ha
u
u
a
a
u
u
a
a
u
u
ri
ri
vo
vo
ho
ho
œ Œ œ jœ Jœho
ho
eQ
eQ
o
o
ha
ha
∑
∑
∑
∑
œ Œda
da
œ Œda
da
∑
∑
∑
∑
œ Jœ Jœ Jœ Jœ Rœ Rœ Jœ
ho
ho
u
u
a
a
o
o
ha
ha
u
u
ru
ru
a
a
œ Jœ jœ Jœ œ Jœva
va
he
he
a
a
o
o
ha
ha
ha
ha
∑
∑
∑
∑
.œ Œ .ho
ho
.œ Œ .ho
ho
Œ . .œho
ho
∑
∑
∑
‰ œ JœJœ JœJœ Jœ
ho
ho
u
u
a
a
u
u
a
a
u
u
.œ Jœ Jœ Jœ Jœ Jœo
o
i
i
qor
qor
ma
ma
wi
wi
wi
wiw
∑
∑
∑
œ œ œ Œa
a
u
u
a
a
œ œ œ œla
la
wa
wa
i
i
Ro
Row
~~~~
~~~~- - - - -
- - - - -
130
V
V
?
V
V
?
b
b
b
b
b
b
42
42
42
42
42
42
44
44
44
44
44
44
42
42
42
42
42
42
44
44
44
44
44
44
∑
∑
∑
‰ Jœ JœJœ Rœ Rœ Jœ J
œJœ
ha
ha
u
u
a
a
u
u
ru
ru
a
a
i
i
va
va
œ Œ jœ Jœ œda
da
e
e
he
he
he
hew
∑
∑
∑
˙ho
ho
˙he
he
∑
œ œ Jœ Jœ JœJœ
e
e
ha
ha
u
u
a
a
u
u
a
a
˙ œ .Rœ œ œe
e
he
he
he
he
∑
∑
∑
∑
Jœ Jœ JœJœ œ Œ
o
o
ha
ha
u
u
a
a
ho
ho
œ œ .œ Jœbe
ee
he
hehe
he
hehe
i
i
∑
∑
∑
∑
Jœ JœJœ JœJœ JœJœ Jœ
Qa
Qa
u
u
a
a
u
u
a
a
u
u
o
o
ho
ho
œ Jœ Jœ œ œ jœ rœ rœ Jœhe
he
he
he
i
i
heQ
heQ
da
da
di
di
la
la
∑
∑
∑
∑
.Jœ ≈ Œho
ho
.Jœ ≈ Œda
da
∑
∑
∑
∑
131
V
V
?
V
V
?
b
b
b
b
b
b
44
44
44
44
44
44
43
43
43
43
43
43
44
44
44
44
44
44
42
42
42
42
42
42
44
44
44
44
44
44
œ Jœ Jœ Jœ Jœ JœJœ
vo
vo
u
u
a
a
o
o
ha
ha
u
u
a
a
œ œ Jœ œ Jœvo
vo
ho
ho
ho
ho
ho
ho
∑
∑
∑
∑
.œ Œ .ho
ho
.œ Œ .ho
ho
Œ . .œho
ho
∑
∑
∑
.œ ‰ Jœ JœJœ Jœ
ho
ho
a
a
u
u
a
a
u
u
.œ jœ .Jœ ≈ Œa
a
i
i
da
daw
∑
∑
∑
Jœ Jœ Jœ ‰ Óa
a
o
o
ho
ho
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœer
er
Txel
Txel
mxo
mxo
lod
lod
i
i
sic
sic
Zil
Zil
Si
Siw
∑
∑
∑
Jœ Jœ JœJœ JœJœ JœJœ
i
i
a
a
u
u
a
a
i
i
a
a
u
u
a
a
.Jœ ≈ Œ jœ Jœ œda
da
e
e
he
he
he
hew
∑
∑
∑
˙ho
ho
˙he
he
∑
∑
∑
∑
~~~~~
~~
~~~~~~~~~~
~~~~~~~~~~- - - -
- - - -
~~~~~
132
V
V
?
V
V
?
b
b
b
b
b
b
44
44
44
44
44
44
42
42
42
42
42
42
44
44
44
44
44
44
43
43
43
43
43
43
44
44
44
44
44
44
∑
∑
∑
œ œ JœJœ JœJœ
e
e
ha
ha
u
u
a
a
u
u
a
a
œ œ .œ jœe
e
ha
ha
he
he
a
a
∑
∑
∑
∑
œ œ œ Œo
o
ha
ha
ho
ho
œ œ œ œba
a
ha
ha
ho
ho
ho
ho
∑
∑
∑
∑
Jœ JœJœ JœJœ Rœ Rœ Jœb Jœ
ha
ha
u
u
a
a
u
u
a
a
i
i
ri
ri
o
o
ha
ha
Jœ Œ . jœb jœ jœ Jœho
ho
e
e
i
i
vo
vo
ha
ha
∑
∑
∑
∑
.Jœ ≈ Œda
da
.Jœ ≈ Œda
da
∑
∑
∑
∑
œ Rœ Rœ Jœ Jœ Jœ Rœ Rœ Jœ
ho
ho
u
u
ru
ru
a
a
o
o
ha
ha
u
u
ru
ru
a
a
.Jœ Rœ Jœ Jœ Jœ Jœ Jœ Jœga
ga
di
di
xa
xa
da
da
daTv
daTv
ma
ma
lxi
lxi
ni
ni
∑
∑
∑
∑
.œ Œ .ho
ho
.œ Œ .ho
ho
Œ . .œho
ho
~~~~
~~~~- - - -
- - - -
133
V
V
?
V
V
?
b
b
b
b
b
b
44
44
44
44
44
44
42
42
42
42
42
42
46
46
46
46
46
46
42
42
42
42
42
42
∑
∑
∑
‰ œ JœJœ Rœ Rœ Jœ J
œ
ho
ho
u
u
a
a
i
i
ri
ri
a
a
u
u
.œ Jœ Jœ Jœ Jœ Jœvo
vo
i
i
ga
ga
di
di
xa
xa
da
daw
∑
∑
∑
œ Jœ Jœ œ Œa
a
u
u
ru
ru
a
a
.œ Jœ œ œdaTv
daTv
ma
ma
lxi
lxi
ni
niw
∑
∑
∑
‰ Jœ Rœ Rœ Jœ R
œ Rœ Jœ Rœ Rœ Jœ
ha
ha
u
u
ru
ru
a
a
u
u
ru
ru
a
a
u
u
ru
ru
a
a
.Jœ ≈ Œ jœ Jœ œda
da
e
e
he
he
he
hew
∑
∑
∑
˙ho
ho
˙he
he
∑
∑
˙ rœ rœ rœ rœ rœ rœ rœ jœ jœ jœ .jœo
o
mral
mral
Ja
Ja
mi
mi
er
er
bi
bi
We
We
bo
bo
va
va
ha
ha
ho
ho
a
a
∑
∑
∑
∑
~~~~~~~~
~~~~~~~~~- - - - -
- - - - -
- - - - -
- - - - -
134
V
V
?
V
V
?
b
b
b
b
b
b
42
42
42
42
42
42
44
44
44
44
44
44
45
45
45
45
45
45
41
41
41
41
41
41
∑
∑
˙ho
ho
∑
∑
∑
œ .Jœ Rœ œ Œvo
vo
ho
ho
i
i
ho
ho
œ œ œ Jœ ‰va
va
haQ
haQ
ho
ho
ho
how
∑
∑
∑
Adagio A77
‰ Jœ JœJœ Jœ Jœ J
œJœ
ha
ha
u
u
a
a
o
o
ha
ha
u
u
a
a
.Jœ Rœ Jœ Jœ Jœn Jœ Jœ Jœhe
he
Q
Q
i
i
da
da
he
he
i
i
vo
vo
ho
how
∑
∑
∑
.œ ‰ Óho
ho
.œ ‰ Óho
ho
∑
.œ Jœ Jœ Jœ œ œ Jœ
ho
ho
i
i
a
a
i
i
o
o
va
va
.œ jœ Jœ Jœ Jœ Jœa
a
i
i
ha
ha
ri
ri
ra
ra
va
va
∑
∑
∑
∑
Jœ Jœ JœJœ JœJœ JœRœ Rœ œ
i
i
ha
ha
u
u
a
a
i
i
a
a
u
u
a
a
vo
vo
ho
ho
Jœ Jœ Jœ Jœ Jœ Jœ Jœ jœ œhe
he
he
he
e
e
he
he
e
e
he
he
he
he
a
a
ha
ha
∑
~~~
~~~
135
V
V
?
V
V
?
b
b
b
b
b
b
41
41
41
41
41
41
89
89
89
89
89
89
44
44
44
44
44
44
45
45
45
45
45
45
83
83
83
83
83
83
∑
∑
∑
∑
∑
œho
ho
∑
∑
∑
‰ Jœ JœJœ JœJœ JœJœ Jœ
ho
ho
u
u
a
a
i
i
a
a
u
u
a
a
ho
ho
.œ œ œ œva
va
ha
ha
ha
ha
ha
haw
Andante A88
∑
∑
∑
Jœ JœJœ Jœ Jœ Jœ J
œJœ
ho
ho
u
u
a
a
ho
ho
ho
ho
ha
ha
u
u
a
a
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœo
o
de
de
li
li
as
as
vin
vin
ar
ar
i
i
tyvis
tyvisw
.œ Jœ Jœ Jœ .œ œ Jœ
ho
ho
u
u
a
a
u
u
o
o
a
a
.œ jœ œ œa
a
ri
ri
ra
ra
ha
ha
∑
œ Ó .ho
ho
œ Ó .ho
hoœ Ó .
Jœ Jœ JœJœ JœJœ JœJœ œ
o
o
ha
ha
u
u
a
a
u
u
a
a
u
u
a
a
ho
ho
.œ Jœ Jœ Jœ Jœ œ œ œhe
he
he
he
e
e
he
he
i
i
e
e
he
he
∑
∑
∑
∑
r i t.
- - - -
- - - -
136
V
V
?
V
V
?
b
b
b
b
b
b
83
83
83
83
83
83
44
44
44
44
44
44
45
45
45
45
45
45
41
41
41
41
41
41
∑
∑
.œho
ho
∑
∑
∑
Jœ Jœ .Jœ R
œJœ JœJœ Jœ
ho
ho
i
i
a
a
i
i
a
a
u
u
a
a
u
u
œ œ Jœ Jœ Jœ JœaQ
aQ
haQ
haQ
vo
vo
ho
ho
ho
ho
ho
how
∑
∑
∑
a tempo
Jœ JœJœ Jœ Jœ Jœ J
œJœ
a
a
u
u
a
a
ho
ho
ho
ho
ha
ha
u
u
a
a
.Jœ ≈ Œ Jœ Jœ Jœ Jœho
ho
he
he
i
i
vo
vo
ho
how
∑
∑
∑
.œ ‰ Óho
ho
.œ ‰ Óho
ho
∑
.œ Jœ Jœ Jœ .œ œ Jœ
ho
ho
i
i
a
a
i
i
o
o
a
a
.œ jœ Jœ Jœ Jœ ‰a
a
i
i
ha
ha
ri
ri
ra
ra
∑
∑
∑
∑
Jœ Jœ JœJœ JœJœ JœRœ Rœ œ
i
i
ha
ha
u
u
a
a
u
u
a
a
u
u
a
a
vo
vo
ho
ho
Jœ Jœ Jœ Jœ Jœ Jœ Jœ jœ œe
e
he
he
e
e
he
he
e
e
he
he
he
he
a
a
ha
ha
∑
r i t.
137
V
V
?
V
V
?
b
b
b
b
b
b
41
41
41
41
41
41
44
44
44
44
44
44
89
89
89
89
89
89
83
83
83
83
83
83
∑
∑
∑
∑
∑
œho
ho
∑
∑
∑
Jœ JœJœ JœJœ JœJœ Jœ
ho
ho
u
u
a
a
i
i
a
a
u
u
a
a
ho
ho
œ œ œ œva
va
ha
ha
ha
ha
ha
haw
a tempo
∑
∑
∑
.Jœ Rœ Jœ Jœ Jœ Jœ JœJœ
ho
ho
u
u
a
a
ho
ho
ho
ho
ha
ha
u
u
a
a
.Jœ Rœ Jœ Jœ Jœ Jœ Jœ Jœver
ver
vi
vi
ka
ka
ve
ve
si
si
yva
yva
ru
ru
li
liw
.œ Jœ Jœ Jœ œho
ho
u
u
a
a
ho
ho
ho
ho
.œ jœ œ œa
a
i
i
a
a
ha
ha
∑
œ Ó .ho
ho
œ Ó .ho
hoœ Ó .
Andante A92
Jœ Jœ œ œ Jœ Jœ œ œho
ho
ho
ho
ha
ha
vo
vo
e
e
he
he
he
he
.œ jœ jœ jœ jœ œhe
he
da
da
o
o
ri
ri
ra
ra
da
da
∑
∑
∑
∑
r i t.
- - - - -
- - - - -
138
V
V
?
V
V
?
b
b
b
b
b
b
83
83
83
83
83
83
44
44
44
44
44
44
89
89
89
89
89
89
83
83
83
83
83
83
∑
∑
.œho
ho
∑
∑
∑
Jœ Jœ Jœ Jœ Jœ J
œ Jœ Jœho
ho
u
u
a
a
ho
ho
ho
ho
u
u
a
a
ho
ho
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœer
er
Txel
Txel
mxo
mxo
lod
lod
i
i
sic
sic
Zil
Zil
Si
Siw
∑
∑
∑
a tempo
Jœ Jœ Jœ Jœ Jœ Jœ J
œJœ
ho
ho
u
u
a
a
ho
ho
ho
ho
ha
ha
u
u
a
a
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœvna
vna
xe
xe
qar
qar
Tvel
Tvel
qal
qal
Ta
Ta
kre
kre
ba
baw
∑
∑
∑
Jœ Ó . .ho
ho
Jœ Ó . .ho
ho
Jœ Ó . .
.œ Rœ Rœ .Jœ Rœ œho
ho
u
u
ru
ru
a
a
ha
ha
ho
ho
˙ ˙a
a
ha
ha
∑
∑
∑
∑
.Jœ Rœ Jœ Jœ œ Rœ Rœ œho
ho
ho
ho
ho
ho
ho
ho
ho
ho
va
va
ri
ri
ra
ra
.œ jœ jœ œ œhe
he
Qa
Qa
va
va
ha
ha
ha
ha
∑
r i t.
- - - - - - - -
- - - - - - - -
139
V
V
?
V
V
?
b
b
b
b
b
b
83
83
83
83
83
83
44
44
44
44
44
44
89
89
89
89
89
89
83
83
83
83
83
83
∑
∑
∑
∑
∑
.œho
ho
∑
∑
∑
Jœ JœJœ JœJœ JœJœ Jœ
ho
ho
u
u
a
a
u
u
a
a
u
u
a
a
ho
ho
Jœ Jœ Jœ Jœ Jœ ‰ œ œQe
Qe
he
he
he
he
he
he
he
he
he
hew
a tempo
∑
∑
∑
Jœ Rœ Rœ Jœ Jœ Jœ Jœ J
œJœ
ho
ho
u
u
ru
ru
a
a
ho
ho
ho
ho
ha
ha
u
u
a
a
.œ ‰ Jœ Jœ Jœ Jœhe
he
he
he
i
i
vo
vo
ha
haw
.œ Jœ Jœ Jœ œho
ho
u
u
a
a
ho
ho
ho
ho
.œ jœ œ œa
a
ri
ri
ra
ra
ha
ha
∑
œ Ó .ho
ho
œ Ó .ho
hoœ Ó .
Jœ Jœ œ œ Jœ Jœ œ œho
ho
ho
ho
ha
ha
vo
vo
e
e
he
he
he
he
.œ jœ jœ jœ jœ œheQ
heQ
da
da
vo
vo
ri
ri
ra
ra
da
da
∑
∑
∑
∑
r i t.
140
V
V
?
V
V
?
b
b
b
b
b
b
83
83
83
83
83
83
44
44
44
44
44
44
89
89
89
89
89
89
83
83
83
83
83
83
∑
∑
.œho
ho
∑
∑
∑
Jœ Jœ Jœ Jœ Jœ J
œ Jœ Jœho
ho
u
u
a
a
ho
ho
ho
ho
u
u
a
a
ho
ho
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœge
ge
fi
fi
ce
ce
bi
bi
ma
ma
Ti
Ti
nax
nax
va
vaw
∑
∑
∑
Andante A96
Jœ Jœ Jœ Jœ Jœ Jœ J
œJœ
ho
ho
u
u
a
a
ho
ho
ho
ho
ha
ha
u
u
a
a
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœex
ex
lac
lac
i
i
se
se
me
me
na
na
tre
tre
ba
baw
∑
∑
∑
Jœ Ó . .ho
ho
Jœ Ó . .ho
ho
Jœ Ó . .
.œ Rœ Rœ .Jœ Rœ œho
ho
i
i
ri
ri
a
a
ho
ho
ho
ho
˙ ˙a
a
ha
ha
∑
∑
∑
∑
Jœ Jœ Jœ Jœ Jœ Jœ Rœ Rœ œo
o
ho
ho
ho
ho
ho
ho
e
e
he
he
he
he
i
i
da
da
Jœ Jœ jœ jœ Jœjœ Jœ œ
a
a
frin
frin
da
da
qo
qo
ri
ri
a
a
frin
frin
da
da
∑
r i t.
- - - - - - - - -
- - - - -
- - - - - - - - -
- - - - -
-
-
141
V
V
?
V
V
?
b
b
b
b
b
b
83
83
83
83
83
83
44
44
44
44
44
44
45
45
45
45
45
45
83
83
83
83
83
83
∑
∑
∑
∑
∑
.œho
ho
∑
∑
∑
Jœ Jœ Jœ Jœ Jœ J
œ Jœ Jœho
ho
u
u
a
a
ho
ho
ho
ho
u
u
a
a
ho
ho
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœa
a
frin
frin
da
da
qo
qo
ri
ri
a
a
frin
frin
da
daw
Andante A100
a tempo
∑
∑
∑
Jœ Jœ Jœ Jœ Jœ Jœ J
œJœ
ho
ho
u
u
a
a
ho
ho
o
o
ha
ha
u
u
a
a
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœbax
bax
ma
ma
roc
roc
ga
ga
di
di
na
na
di
di
ra
raw
.œ Rœ Rœ Jœ Jœ .œ œ Jœ
ho
ho
u
u
ru
ru
a
a
u
u
o
o
va
va
.œ jœ œ œa
a
ri
ri
ra
ra
ha
ha
∑
Jœ Ó . .ho
ho
Jœ Ó . .ho
ho
Jœ Ó . .
Jœ Jœ Rœ Rœ Jœ R
œ Rœ Jœ Rœ Rœ Jœ œ
o
o
ha
ha
u
u
ru
ru
a
a
u
u
ru
ru
a
a
u
u
ru
ru
a
a
ho
ho
.œ Jœ Jœ Jœ Jœb Rœ rœ œhe
he
he
he
e
e
he
he
i
i
a
a
o
o
ho
ho
∑
∑
∑
∑
m o l t o r i t.
- - - - - - - - - - -
- - - - - - - - - - -
142
V
V
?
V
V
?
b
b
b
b
b
b
83
83
83
83
83
83
44
44
44
44
44
44
45
45
45
45
45
45
41
41
41
41
41
41
∑
∑
.œho
ho
∑
∑
∑
Jœ JœJœ JœJœ JœJœ Jœ
ho
ho
i
i
a
a
u
u
a
a
i
i
a
a
u
u
œ œ Jœ Jœ Jœ Jœa
a
haQ
haQ
vo
vo
ho
ho
ho
ho
ho
how
∑
∑
∑
Andante A84
Jœ JœJœ Jœ Jœ Jœ J
œJœ
a
a
i
i
a
a
ho
ho
o
o
ha
ha
i
i
a
a
Jœ Œ . Jœ Jœ Jœ Jœhe
he
i
i
vo
vo
ho
how
∑
∑
∑
œ Ó .ho
ho
œ Ó .ho
ho
Jœ Ó . .
.œ Rœ Rœ Jœ Rœ Rœ .œ œ Jœ
ho
ho
u
u
ru
ru
a
a
u
u
ru
ru
o
o
va
va
.œ jœ Jœ Jœ Jœ Jœa
a
i
i
a
a
i
i
ha
ha
da
da
∑
∑
∑
∑
Jœ Jœ JœJœ JœJœ JœRœ Rœ œ
o
o
ha
ha
i
i
a
a
i
i
a
a
i
i
a
a
vo
vo
ho
ho
Jœ Jœ Jœ Jœ Jœ Jœ Jœ jœ œe
e
he
he
e
e
he
he
e
e
he
he
he
he
a
a
ha
ha
∑
143
V
V
?
V
V
?
b
b
b
b
b
b
41
41
41
41
41
41
44
44
44
44
44
44
83
83
83
83
83
83
43
43
43
43
43
43
44
44
44
44
44
44
42
42
42
42
42
42
∑
∑
∑
∑
∑
œho
ho
∑
∑
∑
Jœ JœJœ JœJœ JœJœ Jœ
vo
vo
u
u
a
a
i
i
a
a
u
u
a
a
ho
ho
œ œ œ Jœ ‰va
va
ha
ha
ha
ha
ha
haw
accel.
∑
∑
∑
Jœ JœJœ Jœ Jœ Jœ J
œJœ
ho
ho
u
u
a
a
ho
ho
o
o
ha
ha
u
u
a
a
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœgam
gam
cva
cva
la
la
swor
swor
ma
ma
gam
gam
cva
cva
la
law
∑
∑
∑
œ ‰ho
ho
œ ‰ho
hoœ ‰
∑
œ .œ ‰haQ
haQ
da
da
Ó œho
ho
∑
∑
∑
Adagio A67
Ó Jœ Jœ œo
o
de
de
la
la
.Jœ Rœ Jœ ‰ Jœ Jœ Jœ Jœvo
vo
di
di
loQ
loQ
i
i
a
a
va
va
ho
how
∑
∑
∑- - - - -
- - - - -
144
V
V
?
V
V
?
b
b
b
b
b
b
42
42
42
42
42
42
44
44
44
44
44
44
42
42
42
42
42
42
44
44
44
44
44
44
42
42
42
42
42
42
Jœ Œ .ho
ho
Jœ Œ .ho
ho
Jœ Œ .
.Jœ Rœ Jœ Jœho
ho
i
i
na
na
na
na
œ .Jœ ≈hoQ
hoQ
da
da
∑
poco a poco accelerando
∑
∑
∑
.Jœ Rœ Rœ RœRœ Rœ Jœ Jœ œ
ha
ha
u
u
a
a
u
u
a
a
vo
vo
ho
ho
de
de
la
la
œ Jœ ‰ .œ Jœha
ha
di
di
lo
lo
vo
vowho
ho
.Jœ Rœ .Rœ RÔœ Jœho
ho
u
u
a
a
o
o
va
va
œ Jœ ‰oQ
oQ
da
da
∑
Jœ Œ .ho
ho
Jœ Œ .ho
ho
Jœ Œ .
Andante A80
.Jœ Rœ Rœ RœRœ Rœ Jœ J
œ œha
ha
u
u
a
a
u
u
a
a
ho
ho
ho
ho
u
u
a
a
Jœ Jœ Jœ ‰ Jœ Jœ Jœ Jœa
a
di
di
lo
lo
a
a
di
di
la
la
sa
sawho
ho
∑
∑
∑
145
V
V
?
V
V
?
b
b
b
b
b
b
42
42
42
42
42
42
44
44
44
44
44
44
46
46
46
46
46
46
Jœ Œ .ho
ho
Jœ Œ .ho
ho
Jœ Œ .
.Jœ Rœ .œ œ Jœ
ho
ho
u
u
a
a
va
va
œ œoQ
oQ
da
da
∑
poco a poco accelerando
∑
∑
∑
.Jœ RœRœ RœRœ Rœ Jœ J
œ œho
ho
u
u
a
a
u
u
a
a
ho
ho
ho
ho
u
u
a
a
œ Jœ ‰ .œ Jœha
ha
di
di
lo
lo
da
dawho
ho
Jœ Jœ œ Jœ Rœ Rœ Jœ R
œRœ Jœ RœRœ Jœ Jœ
de
de
la
la
ho
ho
ho
ho
u
u
a
a
ho
ho
u
u
a
a
ho
ho
u
u
a
a
ho
ho
ho
ho
œ œ Jœ Œ . œ œe
e
he
he
he
he
e
e
he
he
Ó who
ho
Jœ Œ . ∑ho
ho
Jœ Œ . ∑ho
ho
Jœ Œ . ∑
Andante A84 poco a poco accelerando
Jœ Œ . ∑ho
ho
Jœ Œ . ∑he
he
Jœ Œ . ∑
Jœ RœRœ œ Jœ R
œ Rœ Jœ RœRœ Jœ RÔœ .Rœ RÔœ .Rœ Rœ Rœ
ho
ho
u
u
a
a
ho
ho
ho
ho
u
u
a
a
ho
ho
u
u
a
a
ho
ho
u
u
a
a
u
u
o
o
re
re
ra
ra
œ œ Jœ Jœ jœ jœ jœ jœ jœ JœeQ
eQ
he
he
a
a
xal
xal
am
am
bavs
bavs
mo
mo
ga
ga
xse
xse
neb
neb
Ó who
ho
- - - - -
- - - - -
146
V
V
?
V
V
?
b
b
b
b
b
b
.Rœ RÔœ Jœ œ Jœ Rœ Rœ Jœ R
œRœ Jœ RœRœ Jœ Jœ
ho
ho
de
de
la
la
ho
ho
ho
ho
u
u
a
a
ho
ho
u
u
a
a
ho
ho
u
u
a
a
ho
ho
ho
ho
œ œ jœ jœ jœ Jœjœ jœ jœ Jœ
e
e
he
he
vi
vi
Ta
Ta
re
re
bas
bas
Ta
Ta
vi
vi
sa
sa
so
so
Ó who
ho
Jœ Œ . ∑ho
ho
Jœ Œ . ∑he
he
Jœ Œ . ∑
Jœ Œ . ∑ho
ho
Jœ Œ . ∑he
he
Jœ Œ . ∑
Jœ RœRœ œ Jœ R
œ Rœ Jœ RœRœ Jœ RÔ
œ .Rœ RÔœ .Rœ Rœ Rœ
ho
ho
u
u
a
a
ho
ho
ho
ho
u
u
a
a
ho
ho
u
u
a
a
ho
ho
u
u
a
a
u
u
o
o
re
re
ra
ra
œ œ Jœ Jœ .Jœ Rœjœ jœ jœ Jœ
e
e
he
he
u
u
fu
fu
lo
lo
bam
bam
ga
ga
mi
mi
Wi
Wi
ra
ra
Ó who
ho
.Rœ RÔœ Jœ œ Jœ Rœ Rœ Jœ R
œRœ Jœ RœRœ Jœ Jœ
ho
ho
de
de
la
la
ho
ho
ho
ho
u
u
a
a
ho
ho
u
u
a
a
ho
ho
u
u
a
a
ho
ho
ho
ho
œ œ jœ jœ jœ jœ .œ Jœe
e
he
he
a
a
ra
ra
la
la
lo
lo
ho
ho
ho
ho
Ó who
ho
Jœ Œ . ∑ho
ho
Jœ Œ . ∑he
he
Jœ Œ . ∑
- - - - - -
- - - - - -
- - - - - -
- - - - - -
147
V
V
?
V
V
?
b
b
b
b
b
b
Jœ Œ . ∑ho
ho
Jœ Œ . ∑ho
ho
Jœ Œ . ∑
Jœ RœRœ œ Jœ R
œ Rœ Jœ RœRœ Jœ RÔœ .Rœ RÔœ .Rœ Rœ Rœ
ho
ho
u
u
a
a
ho
ho
ho
ho
u
u
a
a
ho
ho
u
u
a
a
ho
ho
u
u
a
a
u
u
o
o
re
re
ra
ra
œ œ Jœ Jœ jœ jœ .jœ rœ jœ Jœe
e
he
he
[daTv
[daTv
ma
ma
lxi
lxi
ni
ni
ga
ga
di
di
xa
xa
da]
da]
Ó who
ho
.Rœ RÔœ Jœ œ Jœ Rœ Rœ Jœ R
œRœ Jœ RœRœ Jœ Jœ
ho
ho
de
de
la
la
ho
ho
ho
ho
u
u
a
a
ho
ho
u
u
a
a
ho
ho
u
u
a
a
ho
ho
ho
ho
œ œ œ Œ .œ Jœa
a
ha
ha
ho
ho
e
e
he
he
Ó who
ho
Jœ Œ . ∑ho
ho
Jœ Œ . ∑he
he
Jœ Œ . ∑
Jœ Œ . ∑ho
ho
Jœ Œ . ∑he
he
Jœ Œ . ∑
Jœ RœRœ œ Jœ R
œ Rœ Jœ RœRœ Jœ RÔœ .Rœ RœRœ Rœ Rœ
ho
ho
u
u
a
a
ho
ho
ho
ho
u
u
a
a
ho
ho
u
u
a
a
ho
ho
u
u
a
a
u
u
o
o
re
re
ra
ra
œ œ jœ Jœjœ jœ jœ jœ jœ Jœ
e
e
he
he
[mo
[mo
i
i
wvi
wvi
a
a
me
me
zo
zo
ble
ble
bi]
bi]
Ó who
ho
~~~~
- - - -- - - - - - -
- - - - - - - - - - -
148
V
V
?
V
V
?
b
b
b
b
b
b
Jœ Jœ œ .Jœ R
œRœ RœRœ Rœ Jœ J
œ œho
ho
u
u
a
a
i
i
a
a
u
u
a
a
ho
ho
ho
ho
u
u
a
a
œ Jœ ‰ œ Jœ ‰ œ œ œoQ
oQ
da
da
a
a
ba
ba
oQ
oQ
da
da
Ó who
ho
Jœ Œ . ∑ho
ho
Jœ Œ . ∑ho
ho
Jœ Œ . ∑
Jœ Œ . ∑ho
ho
Jœ Œ . ∑he
he
Jœ Œ . ∑
Jœ Jœ .œ œ œ .Jœ R
œRœ RœRœ Rœ Jœ J
œ œho
ho
i
i
a
a
ha
ha
u
u
a
a
u
u
a
a
ho
ho
ho
ho
u
u
a
a
œ œ œ Jœ ‰ .œ JœoQ
oQ
da
da
yaQ
yaQ
na
na
sa
sa
da
da
Ó who
ho
Jœ JœJœ Jœ Jœ J
œJœ Jœ Jœ J
œ œho
ho
u
u
o
o
va
va
ha
ha
i
i
a
a
ho
ho
ho
ho
u
u
a
a
œ Jœ ‰.œ œ Jœ ‰ Jœ Jœ Jœ Jœ
oQ
oQ
da
da
oQ
oQ
da
da
ma
ma
dli
dli
an
an
sa
sa
Ó who
ho
Jœ Œ . ∑ho
ho
Jœ Œ . ∑ho
ho
Jœ Œ . ∑- -
- - -
- - -
- -
149
V
V
?
V
V
?
b
b
b
b
b
b
Jœ Œ . ∑ho
ho
Jœ Œ . ∑ho
ho
Jœ Œ . ∑
Jœ Jœ .œ œ œ .Jœ R
œRœ RœRœ Rœ Jœ J
œ œho
ho
i
i
a
a
ha
ha
u
u
a
a
u
u
a
a
ho
ho
ho
ho
u
u
a
a
œ œ œ Jœ ‰ .œ JœoQ
oQ
da
da
a
a
ba
ba
de
de
la
la
Ó who
ho
Jœ Jœ œ Jœ Rœ Rœ Jœ R
œRœ Jœ RœRœ Jœ Jœ
de
de
la
la
ho
ho
ho
ho
u
u
a
a
ho
ho
u
u
a
a
ho
ho
u
u
a
a
ho
ho
ho
ho
œ œ œ Œ .œ Jœe
e
he
he
he
he
he
he
he
he
Ó who
ho
Jœ Œ . ∑ho
ho
Jœ Œ . ∑ho
ho
Jœ Œ . ∑
Jœ Œ . ∑ho
ho
Jœ Œ . ∑he
he
Jœ Œ . ∑
Jœ RœRœ œ Jœ R
œ Rœ Jœ RœRœ Jœ RÔœ .Rœ RœRœ Rœ Rœ
ho
ho
u
u
a
a
ho
ho
ho
ho
u
u
a
a
ho
ho
u
u
a
a
ho
ho
u
u
a
a
u
u
o
o
re
re
ra
ra
œ œ Jœ Œ . .jœ rœ jœ Jœe
e
he
he
he
he
e
e
i
i
o
o
ha
ha
Ó who
ho
~~~~~
-
-
150
V
V
?
V
V
?
b
b
b
b
b
b
Jœ Jœ œ Jœ Rœ Rœ Jœ R
œRœ Jœ RœRœ RœRœ Jœ
de
de
la
la
ho
ho
ho
ho
u
u
a
a
ho
ho
u
u
a
a
ho
ho
i
i
a
a
u
u
a
a
ho
ho
œ œ jœ jœ jœ jœ .œ Jœe
e
he
he
a
a
ra
ra
la
la
lo
lo
ho
ho
ho
ho
Ó who
ho
Jœ Œ . ∑ho
ho
Jœ Œ . ∑ho
ho
Jœ Œ . ∑
Jœ Œ . ∑ho
ho
Jœ Œ . ∑ho
ho
Jœ Œ . ∑
Jœ Jœ œ Jœ Rœ Rœ Jœ R
œRœ Jœ RÔ
œ .Rœ RœRœ Rœ Rœ
u
u
a
a
ho
ho
ho
ho
u
u
a
a
ho
ho
u
u
a
a
ho
ho
u
u
a
a
u
u
o
o
re
re
ra
ra
œ œ Jœ Jœ .Jœ Rœjœ jœ jœ Jœ
e
e
he
he
[ga
[ga
re
re
Se
Se
nic
nic
bev
bev
ri
ri
hyav
hyav
da]
da]
Ó who
ho
Jœ Jœ œ Jœ Rœ Rœ Jœ R
œRœ Jœ RœRœ RœRœ Rœ Rœ
de
de
la
la
ho
ho
ho
ho
u
u
a
a
ho
ho
u
u
a
a
ho
ho
u
u
a
a
u
u
o
o
re
re
ra
ra
œ œ œ Œ .œ JœheQ
heQ
da
da
ho
ho
e
e
he
he
Ó who
ho
Jœ Œ . ∑ho
ho
Jœ Œ . ∑ho
ho
Jœ Œ . ∑
~~~~~
- - - - -
- - - - -
151
V
V
?
V
V
?
b
b
b
b
b
b
Jœ Œ . ∑ho
ho
Jœ Œ . ∑he
he
Jœ Œ . ∑
Jœ RœRœ œ Jœ R
œ Rœ Jœ RœRœ Jœ RÔ
œ .Rœ RœRœ Rœ Rœ
ho
ho
u
u
a
a
ho
ho
ho
ho
u
u
a
a
ho
ho
u
u
a
a
ho
ho
u
u
a
a
u
u
o
o
re
re
ra
ra
œ œ Jœ Jœ Jœ jœjœ jœ jœ Jœ
e
e
he
he
[tu
[tu
ra
ra
me
me
la
la
ka
ka
ta
ta
mgle
mgle
bi]
bi]
Ó who
ho
Jœ Jœ œ Jœ J
œJœ Jœ Jœ J
œ œ
ho
ho
u
u
a
a
ho
ho
u
u
a
a
ho
ho ho
ho
u
u
a
a
œ Jœ ‰ œ Jœ ‰ œ œ œoQ
oQ
da
da
a
a
ba
ba
de
de
la
la
Ó who
ho
Jœ Œ . ∑ho
ho
Jœ Œ . ∑he
he
Jœ Œ . ∑
Jœ Œ . ∑ho
ho
Jœ Œ . ∑ho
ho
Jœ Œ . ∑
Jœ Jœ .Rœ RÔœ Jœ
.Jœ RœRœ RœRœ Rœ Jœ J
œ œho
ho
i
i
a
a
o
o
da
da
ha
ha
u
u
a
a
u
u
a
a
ho
ho
ho
ho
u
u
a
a
œ œ œ Jœ ‰ .œ JœoQ
oQ
da
da
a
a
ba
ba
de
de
la
la
Ó who
ho
- - - -
-
-
-
- - - - -
152
V
V
?
V
V
?
b
b
b
b
b
b
41
41
41
41
41
41
45
45
45
45
45
45
48
48
48
48
48
48
Jœ Jœ .œ œ Jœ Jœ J
œJœ Jœ Jœ Rœ R
œ œho
ho
u
u
o
o
da
da
ho
ho
u
u
a
a
ho
ho
ho
ho
ha
ha
u
u
a
a
œ Jœ ‰ Jœ Jœ Jœ Jœ Jœ Jœ œ œ JœoQ
oQ
da
da
gam
gam
xi
xi
a
a
rul
rul
di
di stu
stu
ma
ma ro
ro
Ó who
ho
Jœ Œ . ∑ho
ho
Jœ Œ . ∑ho
ho
Jœ Œ . ∑
Jœ Œ . ∑ho
ho
Jœ Œ . ∑ho
ho
Jœ Œ . ∑
Jœ Jœ .œ œ œ .Jœ R
œRœ RœRœ Rœ Jœ J
œ œho
ho
i
i
a
a
ha
ha
u
u
a
a
u
u
a
a
ho
ho
ho
ho
u
u
a
a
œ œ œ Jœ ‰ .œ JœoQ
oQ
da
da
a
a
di
di
lo
lo
da
da
Ó who
ho
Œ
œheQ
heQ
Œ
œhoQ
hoQ
œhoQ
hoQœ
* ∑
Jœ Jœ Jœ Jœ ˙ Œa
a
ha
ha
ho
ho
a
a
ho
ho
Ó .˙ho
ho
∑
∑
∑
2)
1)
- - - - - -
- - - -- -
1) ix. SeniSvna gv. 125-ze.
2) sinamdvileSi audio CanawerSi am adgilze JRers mi (Semcirebuli kvintiT dabla) da aqedan simRera TandaTan maRldeba kvintiT (simReris bolomde).
1) See the note on page 125.
2) Actually, in the recording here sounds E (a diminished fifth lower) and from here the song gradually goes a fifth higher (until the end of the song)
153
V
V
?
V
V
?
b
b
b
b
b
b
48
48
48
48
48
48
43
43
43
43
43
43
44
44
44
44
44
44
42
42
42
42
42
42
44
44
44
44
44
44
46
46
46
46
46
46
∑
Rœ Rœ .Rœ .Rœ .Rœ .Rœ œ Jœ Jœ œ Jœ Jœ ˙o
o
ho
ho
i
i
a
a
o
o
i
i
o
o
o
o
ho
ho
ho
ho
o
o
ho
ho
ho
how w
∑
∑
∑
a d l i b i t u m
∑
∑
œ Ó
∑
∑
.˙ho
ho
∑
∑
∑
∑
Rœ .œ R¿ ≈ Rœ Rœ Rœo
o
ho
ho
i
i
o
o
ho
ho
ho
how
∑
∑
∑
∑
who
how
∑
∑
˙ho
ho
∑
∑
œ Œ
∑
.˙ J¿ ‰ho
ho
i
iw
∑
∑
∑
~~~
~~~
~~~
154
V
V
?
V
V
?
b
b
b
b
b
b
46
46
46
46
46
46
44
44
44
44
44
44
43
43
43
43
43
43
44
44
44
44
44
44
87
87
87
87
87
87
44
44
44
44
44
44
∑
.Jœ jœ Jœ ≈ .Jœjœ Jœ ≈ œ œ œ œ
3
ho
ho
a
a
ho
ho
a
a
o
o
ho
ho
ho
ho.w
∑
∑
∑
∑
∑
œ Ó .
∑
Œ . Jœ .œ ‰Qo
Qo
hoQ
hoQwho
ho
∑
∑
∑
∑
Rœ Rœ . .˙o
o
ho
ho
ho
how
∑
œ Jœ rœ rœ jœ ‰Qe
Qe
hi
hi
a
a
o
o
ha
ha.˙ho
ho
∑
Jœ ‰ Ó
œ Ó
Adagio A73
œ .Jœ Rœb .œ Jœa
a
ba
ba
i
i
a
a
ho
ho
œ œ œ œe
e
heQ
heQ
vo
vo
ho
ho.˙ œho
ho
∑
∑
∑
poco a poco accelerando
∑
∑
∑
∑
.˙ ‰e
e . .˙ho
ho
155
V
V
?
V
V
?
b
b
b
b
b
b
44
44
44
44
44
44
∑
∑
∑
œ .Jœ Rœ œ œa
a
ba
ba
i
i
a
a
ho
ho
œ œ œ œQe
Qe
ho
ho
i
i
o
o.˙ œho
ho
œ œ jœ .Jœ Rœ Jœ Jœho
ho
de
de
i
i
a
a
ho
ho
ho
ho
ho
ho
œ ˙ jœ ‰he
hewho
ho
œ Ó .he
he
œ Ó .he
he
∑
Andante A84 poco a poco accelerando
Rœ Rœ Rœ Rœ Rœ Rœ Rœ Rœ R
œ Rœ Rœ Rœ œu
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
ho
ho
Jœ Jœ Jœ Jœ œ œhe
he
i
i
vo
vo
i
i
vo
vo
ho
ho.˙ œho
ho
∑
∑
∑
∑
∑
∑
.Jœ Rœ Jœ Jœjœ .Jœ Rœ Jœ Jœ
o
o
de
de
la
la
ho
ho
u
u
a
a
ho
ho
ho
ho
ho
ho
. .˙ ‰a
awho
ho
∑
∑
∑
Rœ Rœ Jœ Jœ Jœ Rœ Rœ Rœ Rœ œ
u
u
ru
ru
a
a
ho
ho
ho
ho
u
u
ru
ru
a
a
ho
ho
ho
ho
œ œ œ œheQ
heQ
da
da
i
i
o
o.˙ œho
ho
~~~~
~~~~~
~~~
156
V
V
?
V
V
?
b
b
b
b
b
b
.Jœ Rœ .Jœ Rœ Rœ Rœ Rœ Rœ œvo
vo
i
i
vo
vo
de
de
li
li
vo
vo
de
de
la
la
da
da
œ ˙ jœ ‰heQ
heQ
a
awho
ho
∑
∑
∑
jœ Jœ œ jœ jœ œhe
he
i
i
da
da
o
o
ho
ho
ho
ho
œ .Jœ rœ Jœ Jœ œheQ
heQ
he
he
i
i
vo
vo
ho
ho
ho
ho.˙ œho
ho
∑
∑
∑
∑
∑
∑
.Jœ Rœ .Jœ Rœ Rœ Rœ Rœ Rœ œvo
vo
i
i
vo
vo
de
de
li
li
vo
vo
de
de
la
la
da
da
œ .œ jœ jœ ‰heQ
heQ
he
he
a
a
va
vawho
ho
∑
∑
∑
.jœ Rœrœ rœ jœ œ œ
he
he
i
i
da
da
i
i
da
da
o
o
ho
ho
œ œ Jœ Jœ œQe
Qe
he
he
o
o
ho
ho
ho
ho.˙ œho
ho
Jœ Jœ Jœ Jœ Jœ Jœ œoQ
oQ
de
de
li
li
a
a
na
na
ni
ni
na
na
œ ˙ jœ ‰i
i
a
awho
ho
∑
∑
∑
~~~~~ ~~~~~
157
V
V
?
V
V
?
b
b
b
b
b
b
87
87
87
87
87
87
45
45
45
45
45
45
83
83
83
83
83
83
45
45
45
45
45
45
85
85
85
85
85
85
jœ Jœ œ jœ jœ œhe
he
i
i
da
da
o
o
ho
ho
ho
ho
Jœ Jœ Jœ Jœ œ œ œhe
he
i
i
da
da
i
i
o
o
ho
ho.˙ œho
ho
∑
∑
∑
∑
∑
∑
Jœ Jœ Jœ Jœ Jœ Jœ œov
ov
de
de
li
li
a
a
na
na
ni
ni
na
na
. .˙ ‰a
awho
ho
∑
∑
∑
jœ Jœrœ rœ jœ œ œ
he
he
i
i
da
da
i
i
va
va
o
o
ho
ho
œ œ œ œheQ
heQ
da
da
hi
hi
o
o.˙ œho
ho
∑
Jœ Jœ .jœ rœ jœ Œ
heQ
heQ
i
i
he
he
a
a
da
da. .˙ho
ho
∑
∑
∑
œ œ œ ˙a
a
ba
ba
rZa
rZa
lo
lo
œ œ œ ˙a
a
ba
ba
rZa
rZa
lo
lo.˙ ˙
∑
∑
∑
Andante A92 poco a poco accelerando
œ ‰
Jœ Œ
Jœ Œ
∑
∑
.œho
ho
∑
∑
∑
œ œ œ ˙a
a
ba
ba
rZa
rZa
lo
lo
œ œ œ ˙a
a
ba
ba
rZa
rZa
lo
lo.˙ ˙
~~~~~
- -
- -
- -
- -
- -
- -
- -
- -
158
V
V
?
V
V
?
b
b
b
b
b
b
85
85
85
85
85
85
89
89
89
89
89
89
83
83
83
83
83
83
89
89
89
89
89
89
44
44
44
44
44
44
∑
.jœ rœ œ ‰he
he
a
a
da
da˙ Jœho
ho
Jœ Ó
Jœ Ó
Jœ Ó
œ œ œ .œa
a
ba
ba
rZa
rZa
lo
lo
œ œ œ .œa
a
ba
ba
rZa
rZa
lo
lo.˙ .œ
∑
∑
∑
Jœ Œ
Jœ Œ
Jœ Œ
∑
∑
.œho
ho
∑
∑
∑
œ œ œ .œa
a
ba
ba
rZa
rZa
lo
lo
œ œ œ .œa
a
ba
ba
rZa
rZa
lo
lo.˙ .œ
œ œ Jœ Jœ œho
ho
de
de
la
la
ho
ho
ho
ho
Jœ .˙ ‰he
he
a
awho
ho
Jœ Ó . .
Jœ Ó . .
Jœ Ó . .
Andante A100 poco a poco accelerando
Rœ Rœ Rœ Rœ Rœ Rœ Rœ Rœ R
œ Rœ Rœ Rœ œu
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
ho
ho
œ .Jœ Rœ œ œe
e
he
he
i
i
vo
vo
ho
ho.˙ œho
ho
∑
∑
∑
~~~
~ ~~~
- -
- -
- -
- -
- -
- -
- -
- -
159
V
V
?
V
V
?
b
b
b
b
b
b
∑
∑
∑
.Jœ Rœ Jœ Jœjœ .Jœ Rœ Jœ Jœ
vo
vo
de
de
la
la
ho
ho
u
u
a
a
ho
ho
ho
ho
ho
ho
. .˙ ‰a
awho
ho
∑
∑
∑
Rœ Rœ Rœ Rœ Rœ Rœ Rœ Rœ R
œ Rœ Rœ Rœ œu
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
ho
ho
œ œ œ œheQ
heQ
da
da
hi
hi
o
o.˙ œho
ho
.Jœ Rœ .Jœ Rœ Rœ Rœ Rœ Rœ œvo
vo
i
i
vo
vo
de
de
li
li
vo
vo
de
de
la
la
da
da
œ ˙ jœ ‰heQ
heQ
a
awho
ho
∑
∑
∑
jœ Jœ œ jœ jœ œhe
he
i
i
da
da
o
o
ho
ho
ho
ho
œ .Jœ rœ Jœ Jœ œhe
he
he
he
i
i
o
o
ho
ho
ho
ho.˙ œho
ho
∑
∑
∑
~~~~~
160
V
V
?
V
V
?
b
b
b
b
b
b
∑
∑
∑
.Jœ Rœ .Jœ Rœ Rœ Rœ Rœ Rœ œvo
vo
i
i
vo
vo
de
de
li
li
vo
vo
de
de
la
la
da
da
. .˙ ‰he
hewho
ho
∑
∑
∑
.jœ Rœ .rœ rKœ jœ œ œhe
he
i
i
da
da
i
i
va
va
o
o
ho
ho
œ œ Jœ Jœ œhe
he
he
he
vo
vo
ho
ho
ho
ho.˙ œho
ho
Jœ Jœ Jœ Jœ Jœ Jœ œvoQ
voQ
de
de
li
li
a
a
na
na
ni
ni
na
na
Jœ rœ rœ ˙ jœ ‰heQ
heQ
di
di
la
la
da
dawho
ho
∑
∑
∑
jœ Jœ œ jœ jœ œhe
he
i
i
da
da
o
o
ho
ho
ho
ho
Jœ Jœ Jœ Jœ Jœ Jœ œhe
he
i
i
vo
vo
i
i
vo
vo
ho
ho
ho
ho.˙ œho
ho
∑
∑
∑
161
V
V
?
V
V
?
b
b
b
b
b
b
∑
∑
∑
Jœ Jœ Jœ Rœ Rœ Jœ Jœ œov
ov
de
de
li
li
a
a
da
da
na
na
ni
ni
na
na
.˙ Œhe
hewho
ho
∑
∑
∑
jœ Jœ .rœ rKœ jœ œ œhe
he
i
i
da
da
i
i
va
va
o
o
ho
ho
œ œ Jœ Jœ œhe
he
he
he
vo
vo
ho
ho
ho
ho.˙ œho
ho
.Jœ Rœ œ .Jœ Rœ œna
na
ni
ni
na
na
na
na
ni
ni
na
na
œ ˙ jœ ‰heQ
heQ
a
awho
ho
∑
∑
∑
jœ Jœ œ jœ jœ œhe
he
i
i
da
da
o
o
ho
ho
ho
ho
œ œ œ rœ Jœ Jœ œhe
he
he
he
i
i
e
e
he
he
he
he.˙ œho
ho
∑
∑
∑
~~~~~~
162
V
V
?
V
V
?
b
b
b
b
b
b
87
87
87
87
87
87
45
45
45
45
45
45
42
42
42
42
42
42
45
45
45
45
45
45
∑
∑
∑
.Jœ Rœ œ .Jœ Rœ œna
na
ni
ni
na
na
na
na
ni
ni
na
na
. .˙ ‰he
hewho
ho
∑
∑
∑
jœ Jœ œ œ jœ œ œhe
he
i
i
da
da
va
va
o
o
ho
ho
Jœ Jœ œ Jœ Jœ œhe
he
i
i
he
he
o
o
ho
ho
ho
ho.˙ œho
ho
∑
œ .jœ rœ jœ ŒheQ
heQ
he
he
a
a
da
da.˙ Jœho
ho
∑
∑
∑
œ œ œ ˙a
a
ba
ba
rZa
rZa
lo
lo
œ œ œ ˙a
a
ba
ba
rZa
rZa
lo
lo.˙ ˙
∑
∑
∑
Moderato A108 œ Œ
œ Œ
œ Œ
∑
∑
˙ho
ho
~~~~~~~
- -
- -
- -
- -
163
V
V
?
V
V
?
b
b
b
b
b
b
45
45
45
45
45
45
43
43
43
43
43
43
89
89
89
89
89
89
83
83
83
83
83
83
45
45
45
45
45
45
42
42
42
42
42
42
∑
∑
∑
œ œ œ ˙a
a
ba
ba
rZa
rZa
lo
lo
œ œ œ ˙a
a
ba
ba
rZa
rZa
lo
lo.˙ ˙
∑
œ jœ rœ rœ jœ ‰heQ
heQ
he
he
i
i
a
a
ha
ha.˙ho
ho
Jœ ‰ Ó
Jœ ‰ Ó
Jœ ‰ Ó
œ œ œ .œa
a
ba
ba
rZa
rZa
lo
lo
œ œ œ .œa
a
ba
ba
rZa
rZa
lo
low Jœ
∑
∑
∑
œ ‰
œ ‰
œ ‰
∑
∑
.œho
ho
∑
∑
∑
œ œ œ ˙a
a
ba
ba
rZa
rZa
lo
lo
œ œ œ ˙a
a
ba
ba
rZa
rZa
lo
low œ
~~~~~~
~~~~~~- -
- -
- -
- -
- -
- -
- -
- -
- - - -
- - - -
~~~~~~~~
164
V
V
?
V
V
?
b
b
b
b
b
b
42
42
42
42
42
42
œ œ ≈ Jœ Jœi
i
Qa
Qa
ho
ho
œ œ Jœ Jœhi
hi
Qa
Qa
ho
ho.œ Jœho
ho
ho
ho
Ó
Ó
Ó
Largo A40
∑
∑
∑
Œ Jœ JœQa
Qa
ho
ho
œ œ Jœ Jœhi
hi
Qa
Qa
ho
ho.œ Jœho
ho
ho
ho
molto accelerando - A48 DF A122
Jœrœ ≈ Jœ Jœ
voQ
voQ
da
da
Qa
Qa
ho
ho
Jœ ‰ Jœ Jœhi
hi
i
i
o
o.œ Jœho
ho
ho
ho
Œ jœ Jœi
i
o
o
∑
∑
∑
∑
∑
Œ Jœ JœQa
Qa
ho
ho
œ œ Jœ Jœhi
hi
Qa
Qa
ho
ho.œ Jœho
ho
ho
ho
Jœjœ Jœ Jœ
voQ
voQ
da
da
i
i
o
o
Jœ ‰ Jœ Jœhi
hi
i
i
o
o.œ Jœho
ho
ho
ho
∑
∑
∑
∑
∑
∑
Jœ Jœ Jœ JœvoQ
voQ
da
da
i
i
o
o
Jœ ‰ Jœ Jœhi
hi
i
i
o
o.œ Jœho
ho
ho
ho
Jœjœ Jœ Jœ
voQ
voQ
da
da
i
i
o
o
Jœ ‰ Jœ Jœhi
hi
i
i
o
o.œ Jœho
ho
ho
ho
∑
∑
∑
∑
∑
∑
Jœ Jœ Jœ JœvoQ
voQ
da
da
i
i
o
o
Jœ ‰ Jœ Jœhi
hi
i
i
o
o.œ Jœho
ho
ho
ho
~~
165
V
V
?
V
V
?
b
b
b
b
b
b
Jœjœ Jœ Jœ
voQ
voQ
da
da
i
i
o
o
Jœ ‰ Jœ Jœhi
hi
i
i
o
o.œ Jœho
ho
ho
ho
∑
∑
∑
∑
∑
∑
Jœ Jœ Jœ JœvoQ
voQ
da
da
i
i
o
o
Jœ ‰ Jœ Jœhi
hi
i
i
o
o.œ Jœho
ho
ho
ho
Jœjœ Jœ Jœ
voQ
voQ
da
da
i
i
o
o
Jœ ‰ Jœ Jœhi
hi
i
i
o
o.œ Jœho
ho
ho
ho
∑
∑
∑
∑
∑
∑
Jœ Jœ Jœ JœvoQ
voQ
da
da
i
i
o
o
Jœ ‰ Jœ Jœhi
hi
i
i
o
o.œ Jœho
ho
ho
ho
Jœjœ Jœ Jœ
voQ
voQ
da
da
i
i
o
o
Jœ ‰ Jœ Jœhi
hi
i
i
o
o.œ Jœho
ho
ho
ho
∑
∑
∑
∑
∑
∑
Jœ Jœ Jœ JœvoQ
voQ
da
da
i
i
o
o
Jœ ‰ Jœ Jœhi
hi
i
i
o
o.œ Jœho
ho
ho
ho
Jœjœ Jœ Jœ
voQ
voQ
da
da
i
i
o
o
Jœ ‰ Jœ Jœhi
hi
i
i
o
o.œ Jœho
ho
ho
ho
∑
∑
∑
∑
∑
∑
Jœ Jœ Jœ JœvoQ
voQ
da
da
i
i
o
o
Jœ ‰ Jœ Jœhi
hi
i
i
o
o.œ Jœho
ho
ho
ho
166
V
V
?
V
V
?
b
b
b
b
b
b
Jœjœ Jœ Jœ
voQ
voQ
da
da
i
i
o
o
Jœ ‰ Jœ Jœhi
hi
i
i
o
o.œ Jœho
ho
ho
ho
∑
∑
∑
∑
∑
∑
Jœ Jœ Jœ JœvoQ
voQ
da
da
i
i
o
o
Jœ ‰ Jœ Jœhi
hi
i
i
o
o.œ Jœho
ho
ho
ho
Jœjœ Jœ Jœ
voQ
voQ
da
da
i
i
o
o
Jœ ‰ Jœ Jœhi
hi
i
i
o
o.œ Jœho
ho
ho
ho
∑
∑
∑
∑
∑
∑
Jœ Jœ Jœ JœvoQ
voQ
da
da
i
i
o
o
Jœ ‰ Jœ Jœhi
hi
i
i
o
o.œ Jœho
ho
ho
ho
Jœ œ ‰voQ
voQ
da
da
œ œi
i
o
o˙ho
ho
∑
∑
∑
Allegro A126
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
∑
∑
∑
molto accelerando - A134 DF A176
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
167
V
V
?
V
V
?
b
b
b
b
b
b
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
∑
∑
∑
Prestissimo A280
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
168
V
V
?
V
V
?
b
b
b
b
b
b
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
169
V
V
?
V
V
?
b
b
b
b
b
b
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
∑
∑
∑
Prestissimo A210
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
170
V
V
?
V
V
?
b
b
b
b
b
b
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
∑
∑
∑
Prestissimo A280
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
171
V
V
?
V
V
?
b
b
b
b
b
b
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
∑
∑
∑
Prestissimo A210
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
172
V
V
?
V
V
?
b
b
b
b
b
b
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
∑
∑
∑
Prestissimo A280
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
173
V
V
?
V
V
?
b
b
b
b
b
b
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
174
V
V
?
V
V
?
b
b
b
b
b
b
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
∑
∑
∑
Prestissimo A210
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
˙ho.
ho.˙ho.
ho.
œ Jœ œ œ œ3
i
i
o
o
vo
vo
˙ho.
ho.˙ho.
ho.
∑
˙
˙
˙ho.
ho.
˙
˙
˙ho.
ho.
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
175
V
V
?
V
V
?
bb
b b
b b
b b
b b
b b
44
44
44
44
44
44
83
83
83
83
83
83
44
44
44
44
44
44
83
83
83
83
83
83
44
44
44
44
44
44
∑
.œ Jœ Jœjœ rœ rœ jœ
a
a
i
i
a
a
ha
ha
ha
ha
ha
ha
vo
vo
∑
∑
∑
∑
Adagio A67
Ó Rœ Rœ Rœ Rœ RœRœ Jœ
u
u
ru
ru
a
a
ho
ho
u
u
a
a
ho
ho
jœ jœ jœ Jœ Jœ Jœ Rœ Rœ Jœva
va
ha
ha
ha
ha
ha
ha
ho
ho
ho
ho
i
i
a
a
vo
vo
∑
∑
∑
∑
poco a poco accelerando
∑
∑
.œvo
vo
∑
∑
∑
Jœ Jœ Jœ Jœ JœbJœ RœnRœ Jœ
u
u
a
a
ho
ho
ho
ho
u
u
a
a
u
u
a
a
ho
ho
Jœ Jœ Jœ Jœ Jœ œ œ œ œ Jœvi
vi
yav
yav
qa
qa
li
li
az
az
na
na
u
u
ri
riw
∑
∑
∑
∑
∑
.œho
ho
∑
∑
∑
- - - - -
- - - - -
5. moqceula@@@@
Moktseula
I choir
I choir
1) sinamdvileSi audio CanawerSi simRera iwyeba sol bemolidan da TandaTan maRldeba didi terciiT varskvlaviT aRniSnul adgilamde (gv. 202).
1) Actually, in the recording the song starts with G flat and gradually goes a big third higher up to the place marked with asterisk (page 202).
guria
Guria
176
V
V
?
V
V
?
bb
b b
b b
b b
b b
b b
44
44
44
44
44
44
83
83
83
83
83
83
44
44
44
44
44
44
83
83
83
83
83
83
44
44
44
44
44
44
Jœ Jœ JœJœ JœJœ RœRœ Jœ
i
i
a
a
u
u
a
a
i
i
a
a
u
u
a
a
ho
ho
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœmo
mo
mi
mi
ta
ta
ca
ca
gle
gle
xis
xis
Svil
Svil
ma
maw
∑
∑
∑
.œho
ho
.œho
ho.œho
ho
∑
∑
∑
∑
∑
∑
∑
.œ Jœ .Jœrœ œ œ jœ
a
a
i
i
a
a
ha
ha
ha
ha
vo
vo
∑
∑
∑
∑
Rœ Rœ Rœ Rœ Rœ Rœ Rœ Rœ R
œ Rœ Rœ Rœ RœRœ Jœ
u
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
u
u
a
a
ho
ho
jœ jœ jœ Jœ Jœ Jœ Rœ Rœ Jœva
va
ha
ha
ha
ha
ha
ha
he
he
he
he
i
i
a
a
vo
vo
∑
∑
∑
∑
∑
∑
.œvo
vo
- - - - -
- - - - -
177
V
V
?
V
V
?
bb
b b
b b
b b
b b
b b
44
44
44
44
44
44
83
83
83
83
83
83
44
44
44
44
44
44
83
83
83
83
83
83
44
44
44
44
44
44
∑
∑
∑
Jœ Jœ Jœ Jœ Rœ Rœ Rœ Rœ RœRœ Jœ
u
u
a
a
ho
ho
ho
ho
u
u
ru
ru
a
a
ho
ho
u
u
a
a
ho
ho
Jœ Jœ .Jœ Rœ Jœ Jœ Jœ Jœvi
vi
yav
yav
qa
qa
li
li
az
az
na
na
u
u
ri
riw
∑
∑
∑
∑
∑
.œho
ho
∑
∑
∑
œ Jœ Jœ Jœ Jœ RœRœ Rœ Rœ
ho
ho
u
u
a
a
u
u
a
a
u
u
a
a
ho
ho
ho
ho
Jœ Jœ .Jœ Rœ Jœ Jœ Jœ Jœvi
vi
yav
yav
qa
qa
li
li
az
az
na
na
u
u
ri
riw
∑
∑
∑
.œho
ho
.œho
ho.œho
ho
- - - - - - - - - -
- - - - - - - - - -
178
V
V
?
V
V
?
bb
b b
b b
b b
b b
b b
44
44
44
44
44
44
83
83
83
83
83
83
44
44
44
44
44
44
83
83
83
83
83
83
44
44
44
44
44
44
∑
.œ Jœ Jœjœ œ œ jœ
a
a
i
i
a
a
ha
ha
ha
ha
vo
vo
∑
∑
∑
∑
Rœ Rœ Rœ Rœ Rœ Rœ Rœ Rœ R
œ Rœ Rœ Rœ RœRœ Jœ
u
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
u
u
a
a
ho
ho
jœ jœ jœ Jœ Jœ Jœ Rœ Rœ Jœva
va
ha
ha
ha
ha
ha
ha
ho
ho
ho
ho
i
i
a
a
vo
vo
∑
∑
∑
∑
∑
∑
.œvo
vo
∑
∑
∑
Jœ Jœ Jœ Jœ Rœ Rœ Jœ R
œRœ Jœ
u
u
a
a
ho
ho
ho
ho
u
u
ru
ru
a
a
u
u
a
a
ho
ho
‰ Jœ Jœ Jœ Jœ Jœ œ œ Jœmi
mi
ta
ta
ca
ca
gle
gle
xis
xis
Svil
Svil
ma
maw
∑
∑
∑
∑
∑
.œho
ho
∑
∑
∑
- - - -
- - - -
179
V
V
?
V
V
?
bb
b b
b b
b b
b b
b b
44
44
44
44
44
44
83
83
83
83
83
83
44
44
44
44
44
44
83
83
83
83
83
83
44
44
44
44
44
44
Jœ Jœ JœJœ JœJœ RœRœ Jœ
i
i
a
a
u
u
a
a
i
i
a
a
u
u
a
a
ho
ho
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœcxra
cxra
mTas
mTas
i
i
qiT
qiT
gad
gad
mi
mi
yva
yva
na
naw
∑
∑
∑
.œho
ho
.œho
ho.œho
ho
∑
∑
∑
∑
∑
∑
∑
.œ Jœ .Jœrœ œ œ jœ
a
a
i
i
a
a
ha
ha
ha
ha
vo
vo
∑
∑
∑
∑
Rœ Rœ Rœ Rœ Rœ Rœ Rœ Rœ R
œ Rœ Rœ Rœ RœRœ Jœ
u
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
u
u
a
a
ho
ho
jœ jœ jœ Jœ Jœ Jœ Rœ Rœ Jœva
va
ha
ha
ha
ha
ha
ha
he
he
he
he
i
i
vo
vo
ho
ho
∑
∑
∑
∑
∑
∑
.œvo
vo
- - -
- - -
-
-
180
V
V
?
V
V
?
bb
b b
b b
b b
b b
b b
44
44
44
44
44
44
83
83
83
83
83
83
44
44
44
44
44
44
83
83
83
83
83
83
44
44
44
44
44
44
∑
∑
∑
Jœ Jœ Jœ Jœ Rœ Rœ Rœ Rœ RœRœ Jœ
u
u
a
a
ho
ho
ho
ho
u
u
ru
ru
a
a
ho
ho
u
u
a
a
ho
ho
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœ
cxra
cxra
mTas
mTas
i
i
qiT
qiT
gad
gad
mi
mi
yva
yva
na
na
w
∑
∑
∑
∑
∑
.œho
ho
∑
∑
∑
œ Jœ Jœ JœJœ RœRœ Rœ Rœ
ha
ha
u
u
a
a
u
u
a
a
u
u
a
a
ho
ho
ho
ho
œ Jœ Jœ Jœ Jœ Jœ Jœvo
vo i
i
qiT
qiT
gad
gad
mi
mi
yva
yva
na
naw
∑
∑
∑
.œho
ho
.œho
ho.œho
ho
- - - - - - - -
- - - - - - - -
181
V
V
?
V
V
?
bb
b b
b b
b b
b b
b b
44
44
44
44
44
44
83
83
83
83
83
83
44
44
44
44
44
44
83
83
83
83
83
83
44
44
44
44
44
44
∑
.œ Jœ Jœjœ œ œ jœ
a
a
i
i
a
a
ha
ha
ha
ha
vo
vo
∑
∑
∑
∑
Rœ Rœ Rœ Rœ Rœ Rœ Rœ Rœ R
œ Rœ Rœ Rœ RœRœ Jœ
u
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
u
u
a
a
ho
ho
jœ jœ jœ Jœ Jœ Jœ Rœ Rœ Jœva
va
ha
ha
ha
ha
ha
ha
ho
ho
ho
ho
i
i
a
a
vo
vo
∑
∑
∑
∑
∑
∑
.œvo
vo
∑
∑
∑
Jœ Jœ Jœ Jœ Rœ Rœ Jœ R
œRœ Jœ
u
u
a
a
ho
ho
ho
ho
u
u
ru
ru
a
a
u
u
a
a
ho
ho
Jœ Jœ Jœ Jœ Jœ Jœ œ œ Jœbi
bi
Za
Za
Ce
Ce
mo
mo
mo
mo
me
me
xma
xma
re
rew
∑
∑
∑
∑
∑
.œho
ho
∑
∑
∑
- - - - - -
- - - - --
182
V
V
?
V
V
?
bb
b b
b b
b b
b b
b b
44
44
44
44
44
44
83
83
83
83
83
83
44
44
44
44
44
44
83
83
83
83
83
83
44
44
44
44
44
44
Jœ Jœ JœJœ JœJœ RœRœ Jœ
i
i
a
a
u
u
a
a
i
i
a
a
u
u
a
a
ho
ho
Jœ Jœ Jœ Jœ Jœ Jœ Jœ JœRe
Re
les
les
gaR
gaR
ma
ma
ya
ya
na
na
myva
myva
na
naw
∑
∑
∑
.œho
ho
.œho
ho.œho
ho
∑
∑
∑
∑
∑
∑
∑
.œ Jœ .Jœrœ œ œ jœ
a
a
i
i
a
a
ha
ha
ha
ha
vo
vo
∑
∑
∑
∑
Rœ Rœ Rœ Rœ Rœ Rœ Rœ Rœ R
œ Rœ Rœ Rœ RœRœ Jœ
u
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
u
u
a
a
ho
ho
jœ jœ jœ Jœ Jœ Jœ Rœ Rœ Jœva
va
ha
ha
ha
ha
ha
ha
he
he
he
he
i
i
a
a
ho
ho
∑
∑
∑
∑
∑
∑
.œvo
vo
-- - -
- - - -
183
V
V
?
V
V
?
bb
b b
b b
b b
b b
b b
44
44
44
44
44
44
83
83
83
83
83
83
44
44
44
44
44
44
41
41
41
41
41
41
44
44
44
44
44
44
∑
∑
∑
Jœ Jœ Jœ Jœ Rœ Rœ Rœ Rœ R
œRœ Jœ
u
u
a
a
ho
ho
ho
ho
u
u
ru
ru
a
a
ho
ho
u
u
a
a
ho
ho
.Jœ Rœ Jœ Jœ Jœ Jœ œ œvo
vo
ri
ri
vov
vov
de
de
li
li
a
a
sa
saw
∑
∑
∑
∑
∑
.œho
ho
∑
∑
∑
œ Jœ Jœ JœJœ RœRœ Rœ Rœ
ha
ha
u
u
a
a
u
u
a
a
u
u
a
a
ho
ho
ho
ho
.Jœ Rœ Jœ Jœ Jœ œ Jœvo
vo
ri
ri
vov
vov
de
de
li
li
a
a
sa
saw
∑
∑
∑
œho
ho
œho
hoœho
ho
184
V
V
?
V
V
?
bb
b b
b b
b b
b b
b b
44
44
44
44
44
44
83
83
83
83
83
83
44
44
44
44
44
44
83
83
83
83
83
83
44
44
44
44
44
44
Ó Rœ Rœ Rœ Rœn RœRœ Jœ
u
u
ru
ru
a
a
ho
ho
u
u
a
a
ho
ho
œ œ .Jœ Rœ Rœ Rœ Jœva
va
ha
ha
ho
ho
ho
ho
vo
vo
ho
ho
ho
ho
∑
∑
∑
∑
Andante A84
∑
∑
.œho
ho
∑
∑
∑
Jœ Jœ JœJœ JœJœ RœRœ Rœ Rœ
i
i
a
a
u
u
a
a
i
i
a
a
u
u
a
a
ho
ho
ho
ho
œ Jœ Jœ Jœ Jœ œvov
vov
de
de
li
li
voQ
voQ
de
de
la
law
∑
∑
∑
œ Ó .ho
ho
œ Ó .ho
hoœ Ó .ho
ho
Rœ Rœ Rœ Rœn Rœ Rœ Rœ Rœ R
œ Rœ Rœ Rœ RœRœ Jœ
u
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
u
u
a
a
ho
ho
œ œ .Jœ Rœ Rœ Rœ Jœva
va
ha
ha
ho
ho
ho
ho
vo
vo
ho
ho
ho
ho
∑
poco a poco accelerando
∑
∑
∑
∑
∑
.œho
ho
185
V
V
?
V
V
?
bb
b b
b b
b b
b b
b b
44
44
44
44
44
44
83
83
83
83
83
83
44
44
44
44
44
44
∑
∑
∑
Jœ Jœ JœJœ JœJœ RœRœ Rœ Rœ
i
i
a
a
u
u
a
a
i
i
a
a
u
u
a
a
ho
ho
ho
ho
.Jœ Rœ .Jœ Rœ Jœ Jœ œvo
vo
i
i
vo
vo
de
de
li
li
a
a
sa
saw
Rœ Rœ Rœ Rœn Rœ Rœ Rœ Rœ R
œ Rœ Rœ Rœ RœRœ Jœ
u
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
u
u
a
a
ho
ho
œ œ .Jœ Rœ Rœ Rœ Jœa
a
ha
ha
he
he
i
i
e
e
he
he
he
he
∑
œ Ó .ho
ho
œ Ó .ho
hoœ Ó .ho
ho
∑
∑
.œho
ho
∑
∑
∑
Jœ Jœ Jœ Jœ JœJœ RœRœ Rœ Rœ
i
i
a
a
u
u
a
a
i
i
a
a
u
u
a
a
ho
ho
ho
ho
Jœ Jœ Jœn Jœ Jœb Jœ Jœ Jœer
er
Txel
Txel
mxo
mxo
lod
lod
i
i
sic
sic
Zil
Zil
Si
Siw
∑
∑
∑
- - - -
- - - -
186
V
V
?
V
V
?
bb
b b
b b
b b
b b
b b
41
41
41
41
41
41
44
44
44
44
44
44
83
83
83
83
83
83
œ Ó .ho
ho
œ Ó .ho
hoœ Ó .ho
ho
Rœ Rœ Rœ Rœn Rœ Rœ Rœ Rœ R
œ Rœ Rœ Rœ RœRœ Jœ
u
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
u
u
a
a
ho
ho
œ œ .Jœ Rœ Rœ Rœ Jœva
va
ha
ha
ho
ho
ho
ho
va
va
ha
ha
ho
ho
∑
∑
∑
∑
∑
∑
œho
ho
∑
∑
∑
Jœ Jœ Jœ Jœ Jœ Jœ RœRœ Rœ Rœ
i
i
a
a
u
u
a
a
i
i
a
a
u
u
a
a
ho
ho
ho
ho
.Jœ Rœ .Jœ Rœ Jœ Jœ Jœ JœerT
erT
xel
xel
mxo
mxo
lod
lod
i
i
sic
sic
Zil
Zil
Si
Siw
Rœ Rœ Rœ Rœn Rœ Rœ Rœ Rœ R
œ Rœ Rœ Rœ RœRœ Jœ
u
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
u
u
a
a
ho
ho
œ œ .Jœ Rœ Rœ Rœ Jœva
va
ha
ha
ho
ho
ho
ho
o
o
ho
ho
ho
ho
∑
œ Ó .ho
ho
œ Ó .ho
hoœ Ó .ho
ho
- - - -
- - - -
187
V
V
?
V
V
?
bb
b b
b b
b b
b b
b b
83
83
83
83
83
83
44
44
44
44
44
44
83
83
83
83
83
83
44
44
44
44
44
44
∑
∑
.œho
ho
∑
∑
∑
Jœ Jœ Jœ Jœ Jœ Jœ RœRœ Jœ
i
i
a
a
u
u
a
a
i
i
a
a
u
u
a
a
ho
ho
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœvna
vna
xe
xe
qar
qar
Tvel
Tvel
qal
qal
Ta
Ta
kre
kre
ba
baw
∑
∑
∑
œ Ó .ho
ho
œ Ó .ho
hoœ Ó .ho
ho
Rœ Rœ Rœ Rœn Rœ Rœ Rœ Rœ R
œ Rœ Rœ Rœ RœRœ Jœ
u
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
u
u
a
a
ho
ho
œ œ .Jœ Rœ Rœ Rœ Jœva
va
ha
ha
ho
ho
ho
ho
o
o
ho
ho
ho
ho
∑
∑
∑
∑
∑
∑
.œho
ho
- - - -
- - - -
188
V
V
?
V
V
?
bb
b b
b b
b b
b b
b b
44
44
44
44
44
44
83
83
83
83
83
83
44
44
44
44
44
44
∑
∑
∑
Jœ Jœ JœJœ JœJœ RœRœ Rœ Rœ
i
i
a
a
u
u
a
a
i
i
a
a
u
u
a
a
ho
ho
ho
ho
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœvna
vna
xe
xe
qar
qar
Tvel
Tvel
qal
qal
Ta
Ta
kre
kre
ba
baw
Rœ Rœ Rœ Rœn Rœ Rœ Rœ Rœ R
œ Rœ Rœ Rœ RœRœ Jœ
u
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
u
u
a
a
ho
ho
œ œ .Jœ Rœ Rœ Rœ Jœva
va
ha
ha
he
he
i
i
e
e
he
he
he
he
∑
œ Ó .ho
ho
œ Ó .ho
hoœ Ó .ho
ho
∑
∑
.œho
ho
∑
∑
∑
Jœ Jœ JœJœ JœJœ RœRœ Jœ
i
i
a
a
u
u
a
a
i
i
a
a
u
u
a
a
ho
ho
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœge
ge
fi
fi
ce
ce
bi
bi
ma
ma
Ti
Ti
nax
nax
va
vaw
∑
∑
∑- - - -
- - - - -
- - - - -
- - - -
189
V
V
?
V
V
?
bb
b b
b b
b b
b b
b b
41
41
41
41
41
41
44
44
44
44
44
44
83
83
83
83
83
83
œ Ó .ho
ho
œ Ó .ho
hoœ Ó .ho
ho
Rœ Rœ Rœ Rœn Rœ Rœ Rœ Rœ R
œ Rœ Rœ Rœ RœRœ Jœ
u
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
u
u
a
a
ho
ho
œ œ .Jœ Rœ Rœ Rœ Jœva
va
ha
ha
ho
ho
ho
ho
o
o
ho
ho
ho
ho
∑
∑
∑
∑
∑
∑
œho
ho
∑
∑
∑
Jœ Jœ JœJœ JœJœ RœRœ Rœ Rœ
i
i
a
a
u
u
a
a
i
i
a
a
u
u
a
a
ho
ho
ho
ho
.Jœ Rœ .Jœ Rœ Jœ Jœ œvo
vo
ri
ri
vo
vo
de
de
li
li
a
a
sa
saw
Rœ Rœ Rœ Rœn Rœ Rœ Rœ Rœ R
œ Rœ Rœ Rœ RœRœ Jœ
u
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
u
u
a
a
ho
ho
œ œ .Jœ Rœ Rœ Rœ Jœva
va
ha
ha
he
he
i
i
e
e
he
he
he
he
∑
œ Ó .ho
ho
œ Ó .ho
hoœ Ó .ho
ho
190
V
V
?
V
V
?
bb
b b
b b
b b
b b
b b
83
83
83
83
83
83
44
44
44
44
44
44
41
41
41
41
41
41
44
44
44
44
44
44
∑
∑
.œho
ho
∑
∑
∑
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Rœ Rœi
i
a
a
u
u
a
a
i
i
a
a
u
u
a
a
ho
ho
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœex
ex
lac
lac
i
i
sev
sev
me
me
na
na
tre
tre
ba
baw
∑
∑
∑
œ Ó .ho
ho
œ Ó .ho
hoœ Ó .ho
ho
Jœ JœJœ Jœn Rœ Rœ Rœ Rœ R
œRœ Jœ
ho
ho
u
u
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
u
u
a
a
ho
ho
œ œ .Jœ Rœ Rœ Rœ Jœva
va
ha
ha
ho
ho
i
i
vo
vo
ho
ho
ho
ho
∑
∑
∑
∑
∑
∑
œho
ho
- - - - -
- - - - -
191
V
V
?
V
V
?
bb
b b
b b
b b
b b
b b
44
44
44
44
44
44
83
83
83
83
83
83
44
44
44
44
44
44
∑
∑
∑
Jœ Jœ Jœ Jœ JœJœ RœRœ Rœ Rœ
i
i
a
a
u
u
a
a
i
i
a
a
u
u
a
a
ho
ho
ho
ho
.Jœ Rœ Jœ Jœ Jœ Jœ Jœ Jœex
ex
lac
lac
i
i
sev
sev
me
me
na
na
tre
tre
ba
baw
Œ Rœ Rœ Rœ Rœn Rœ Rœ Rœ Rœ R
œRœ Jœ
u
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
u
u
a
a
ho
ho
œ œ .Jœ Rœ Rœ Rœ Jœva
va
ha
ha
he
he
i
i
e
e
he
he
he
he
∑
œ Ó .ho
ho
œ Ó .ho
hoœ Ó .ho
ho
∑
∑
.œho
ho
∑
∑
∑
Jœ Jœ JœJœ JœJœ RœRœ Jœn
i
i
a
a
u
u
a
a
i
i
a
a
u
u
a
a
ho
ho
Jœ Jœ Jœ Jœ Jœn Jœ Jœ Jœtaxt
taxt
zed
zed
ij
ij
da
da
Ta
Ta
mar
mar
me
me
fe
few
∑
∑
∑- - - - -
- - - -
- - - -
- - - - -
192
V
V
?
V
V
?
bb
b b
b b
b b
b b
b b
41
41
41
41
41
41
44
44
44
44
44
44
83
83
83
83
83
83
œ Ó .ho
ho
œ Ó .ho
hoœ Ó .ho
ho
Rœ Rœ Rœ Rœn Rœ Rœ Rœ Rœ R
œ Rœ Rœ Rœ RœRœ Jœ
u
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
u
u
a
a
ho
ho
œ œ .œ œ Rœ Rœ Jœa
a
ha
ha
ho
ho
o
o
ho
ho
ho
ho
∑
∑
∑
∑
∑
∑
œho
ho
∑
∑
∑
Jœ Jœ JœJœ Jœ Jœ R
œRœ Rœ Rœ
i
i
a
a
u
u
a
a
i
i
a
a
u
u
a
a
ho
ho
ho
ho
.Jœn Rœ .Jœb Rœ Jœ Jœ Jœ Jœga
ga
di
di
xa
xa
da
da
daTv
daTv
ma
ma
lxi
lxi
ni
niw
Rœ Rœ Rœ Rœn Rœ Rœ Rœ Rœ R
œ Rœ Rœ Rœ RœRœ Jœ
u
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
u
u
a
a
ho
ho
œ œ .Jœ Rœ Rœ Rœ Jœa
a
ha
ha
he
he
i
i
e
e
he
he
he
he
∑
œ Ó .ho
ho
œ Ó .ho
hoœ Ó .ho
ho
- - - - -
- - - - -
193
V
V
?
V
V
?
bb
b b
b b
b b
b b
b b
83
83
83
83
83
83
44
44
44
44
44
44
41
41
41
41
41
41
44
44
44
44
44
44
∑
∑
.œho
ho
∑
∑
∑
Jœ Jœ JœJœ JœJœ RœRœ Rœ Rœn
i
i
a
a
u
u
a
a
i
i
a
a
u
u
a
a
ho
ho
ho
ho
Jœ Jœ Jœn Jœ Jœ Jœ Jœ JœeS
eS
xi
xi
a
a
ni
ni
mom
mom
xi
xi
bla
bla
vi
viw
∑
∑
∑
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ho
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hoœ Ó .ho
ho
.Jœ RœJœ Jœn Rœ Rœ Rœ Rœ R
œRœ Jœ
ho
ho
u
u
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
u
u
a
a
ho
ho
œ œ .œ œ Rœ Rœ Jœva
va
ha
ha
ho
ho
vo
vo
ho
ho
ho
ho
∑
∑
∑
∑
∑
∑
œho
ho
∑
∑
∑
Jœ Jœ JœJœ Jœ Jœ R
œRœ Rœ Rœn
i
i
a
a
u
u
a
a
i
i
a
a
u
u
a
a
ho
ho
ho
ho
.Jœ Rœ .Jœn Rœ Jœ Jœ Jœ JœeS
eS
xi
xi
a
a
ni
ni
mom
mom
xi
xi
bla
bla
vi
viw
- - - - - -
- - - - - -
- - - - - -
- - - - - -
194
V
V
?
V
V
?
bb
b b
b b
b b
b b
b b
83
83
83
83
83
83
44
44
44
44
44
44
41
41
41
41
41
41
Rœ Rœ Rœ Rœn Rœ Rœ Rœ Rœ R
œ Rœ Rœ Rœ RœRœ Jœ
u
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
u
u
a
a
ho
ho
œ œ .Jœ Rœ Rœ Rœ Jœa
a
ha
ha
he
he
i
i
e
e
he
he
he
he
∑
œ Ó .ho
ho
œ Ó .ho
hoœ Ó .ho
ho
∑
∑
.œho
ho
∑
∑
∑
Jœ Jœ JœJœ JœJœ RœRœ Rœ Rœn
i
i
a
a
u
u
a
a
i
i
a
a
u
u
a
a
ho
ho
ho
ho
.Jœ Rœ Jœ Jœ .Jœn Rœ œvo
vo
ru
ru
di
di
la
la
de
de
li
li
a
aw
∑
∑
∑
œ Ó .ho
ho
œ Ó .ho
hoœ Ó .ho
ho
Rœ Rœ Rœ Rœn Rœ Rœ Rœ Rœ R
œ Rœ Rœ Rœ RœRœ Jœ
u
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
u
u
a
a
ho
ho
œ œ .œ œ Rœ Rœ Jœva
va
ha
ha
ho
ho
o
o
ho
ho
ho
ho
∑
195
V
V
?
V
V
?
bb
b b
b b
b b
b b
b b
41
41
41
41
41
41
44
44
44
44
44
44
43
43
43
43
43
43
∑
∑
∑
∑
∑
œho
ho
∑
∑
∑
Jœ Jœ JœJœ JœJœ RœRœ Jœn
i
i
a
a
u
u
a
a
i
i
a
a
u
u
a
a
ho
ho
.Jœ Rœ .Jœn Rœ Jœ Jœ œvo
vo
ri
ri
vo
vo
de
de
li
li
a
a
sa
saw
∑
œ jœ Jœ œhe
he
e
e
he
he
he
he
∑
œ Óho
ho
œ Óho
hoœ Óho
ho
Andante A92
∑
∑
∑
∑
∑
œ Jœ Jœ Jœ ‰he
he
e
e
he
he
he
he
∑
Jœ Jœ Jœ Jœ œvi
vi
yav
yav
qa
qa
li
li
da
daœ Jœ Jœ œhe
he
e
e
he
he
he
he
∑
∑
∑
∑
∑
∑
RÔœ .Rœ RÔœ# .Rœ RÔœb .Rœ Jœ œ
i
i
a
a
u
u
o
o
i
i
a
a
ho
ho
da
da
.œ Jœ œna
na
ni
ni
na
naœ Jœ Jœ Jœ ‰he
he
e
e
he
he
he
he
- -
- -
196
V
V
?
V
V
?
bb
b b
b b
b b
b b
b b
Rœ RœRœ Rœ RœRœ Jœ œ
ha
ha
u
u
a
a
ho
ho
u
u
a
a
ho
ho
da
da
Jœ Jœ Jœ Jœ œaz
az
na
na
u
u
ri
ri
da
da
Jœ Jœ œ œe
e
he
he
he
he
he
he
∑
Ó œda
da
∑
∑
∑
Ó œhe
he
RÔœ .Rœ RÔœ .Rœ RÔœ .Rœ Jœ œ
i
i
a
a
u
u
o
o
i
i
a
a
ho
ho
da
da
Jœ Jœ Jœ Jœ œvaQ
vaQ
vo
vo
de
de
la
la
da
da
Jœ Jœ œ œe
e
he
he
he
he
he
he
Rœ RœRœ Rœ RœRœ Jœ œ
ha
ha
u
u
a
a
ho
ho
u
u
a
a
ho
ho
da
da
Jœ Jœ .Jœ Rœ œi
i
vo
vo
de
de
lo
lo
da
da
Jœ Jœ œ œe
e
he
he
he
he
he
he
∑
∑
Ó œhe
he
∑
∑
Ó œhe
he
.Rœ RÔœRœ Rœ RœRœ Jœ œ
ha
ha
u
u
a
a
ho
ho
u
u
a
a
ho
ho
da
da
Jœ Jœ Jœ Jœ œvaQ
vaQ
vo
vo
de
de
la
la
da
da
Jœ Jœ œ œe
e
he
he
he
he
he
he
Rœ RœRœ Rœ RœRœ Jœ œ
ha
ha
u
u
a
a
ho
ho
u
u
a
a
ho
ho
da
da
Jœ Jœ Jœ Jœ œvaQ
vaQ
vo
vo
de
de
lo
lo
da
da
Jœ Jœ œ œe
e
he
he
he
he
he
he
∑
∑
Ó œhe
he
∑
∑
Ó œhe
he
RÔœ .Rœ RÔœ .Rœ RÔœ .Rœ Jœ œ
i
i
a
a
u
u
o
o
i
i
a
a
ho
ho
da
da
Jœ Jœ Jœ Jœ œvaQ
vaQ
vo
vo
de
de
la
la
da
da
Jœ Jœ œ œe
e
he
he
he
he
he
he
- - -
- - -
197
V
V
?
V
V
?
bb
b b
b b
b b
b b
b b
.Rœ RÔœRœ Rœ RœRœ Jœ œ
ha
ha
u
u
a
a
ho
ho
u
u
a
a
ho
ho
da
da
Jœ Jœ Jœ Jœ œi
i
vo
vo
de
de
lo
lo
da
da
Jœ Jœ œ œe
e
he
he
he
he
he
he
∑
∑
Ó œhe
he
∑
∑
Ó œhe
he
RÔœ .Rœ RÔœ .Rœ RÔœ .Rœ Jœ œ
i
i
a
a
u
u
o
o
i
i
a
a
ho
ho
da
da
Jœ Jœ Jœ Jœ œvaQ
vaQ
vo
vo
de
de
la
la
da
da
Jœ Jœ œ œe
e
he
he
he
he
he
he
.Rœ RÔœRœ Rœ RœRœ Jœ œ
ha
ha
u
u
a
a
ho
ho
u
u
a
a
ho
ho
da
da
Jœ Jœ Jœ Jœ œvaQ
vaQ
vo
vo
de
de
lo
lo
da
da
Jœ Jœ œ œe
e
he
he
he
he
he
he
∑
∑
Ó œhe
he
∑
∑
Ó œhe
he
.Rœ RÔœRœ Rœ RœRœ Jœ œ
ha
ha
u
u
a
a
ho
ho
u
u
a
a
ho
ho
da
da
Jœ Jœ Jœ Jœ œvaQ
vaQ
vo
vo
de
de
lo
lo
da
da
Jœ Jœ œ œe
e
he
he
he
he
he
he
Rœ RœRœ Rœ RœRœ Jœ œ
ha
ha
u
u
a
a
ho
ho
u
u
a
a
ho
ho
da
da
Jœ Jœ .Jœ Rœ œrus
rus
Ta
Ta
ve
ve
li
li
da
da
Jœ Jœ œ œe
e
he
he
he
he
he
he
∑
∑
Ó œhe
he
∑
∑
Ó œhe
he
.Rœ RÔœRœ Rœ RœRœ Jœ œ
ha
ha
u
u
a
a
ho
ho
u
u
a
a
ho
ho
da
da
Jœ Jœ Jœ Jœ œvaQ
vaQ
vo
vo
de
de
la
la
da
da
Jœ Jœ œ œe
e
he
he
he
he
he
he
- - -
- - -
198
V
V
?
V
V
?
bb
b b
b b
b b
b b
b b
Rœ RœRœ Rœ RœRœ Jœ œ
ha
ha
u
u
a
a
ho
ho
u
u
a
a
ho
ho
da
da
Jœ Jœ Jœ Jœ œi
i
vo
vo
de
de
lo
lo
da
da
Jœ Jœ œ œe
e
he
he
he
he
he
he
∑
∑
Ó œhe
he
∑
∑
Ó œhe
he
RÔœ .Rœ RÔœ .Rœ RÔœ .Rœ Jœ œ
i
i
a
a
u
u
o
o
i
i
a
a
ho
ho
da
da
Jœ Jœ Jœ Jœ œvaQ
vaQ
vo
vo
de
de
la
la
da
da
Jœ Jœ œ œe
e
he
he
he
he
he
he
Rœ RœRœ Rœ RœRœ Jœ œ
ha
ha
u
u
a
a
ho
ho
u
u
a
a
ho
ho
da
da
Jœ Jœ Jœ Jœ œvax
vax
tang
tang
me
me
fe
fe
da
da
Jœ Jœ œ œe
e
he
he
he
he
he
he
∑
∑
Ó œhe
he
∑
∑
Ó œhe
he
RÔœ .Rœ RÔœ .Rœ RÔœ .Rœ Jœ œ
i
i
a
a
u
u o
o i
i
a
a
ho
ho
da
da
Jœ Jœ Jœ Jœ œvaQ
vaQ
vo
vo
de
de
la
la
da
da
Jœ Jœ œ œe
e
he
he
he
he
he
he
.Rœ RÔœRœ Rœ RœRœ Jœ œ
ha
ha
u
u
a
a
ho
ho
u
u
a
a
ho
ho
da
da
Jœ Jœ Jœ Jœ œi
i
vo
vo
de
de
lo
lo
da
da
Jœ Jœ œ œe
e
he
he
he
he
he
he
∑
∑
Ó œhe
he
∑
∑
Ó œhe
he
RÔœ .Rœ RÔœ .Rœ RÔœ .Rœ Jœ œ
i
i
a
a
u
u
o
o
i
i
a
a
ho
ho
da
da
Jœ Jœ Jœ Jœ œvaQ
vaQ
vo
vo
de
de
la
la
da
da
Jœ Jœ œ œe
e
he
he
he
he
he
he
- -
- -
199
V
V
?
V
V
?
bb
b b
b b
b b
b b
b b
Rœ RœRœ Rœ RœRœ Jœ œ
ha
ha
u
u
a
a
ho
ho
u
u
a
a
ho
ho
da
da
Jœ Jœ Jœ Jœ œi
i
vo
vo
de
de
lo
lo
da
da
Jœ Jœ œ œe
e
he
he
he
he
he
he
∑
∑
Ó œhe
he
∑
∑
Ó œhe
he
RÔœ .Rœ RÔœ .Rœ RÔœ .Rœ Jœ œ
i
i
a
a
u
u
o
o
i
i
a
a
ho
ho
da
da
Jœ Jœ Jœ Jœ œvaQ
vaQ
vo
vo
de
de
lo
lo
da
da
Jœ Jœ œ œe
e
he
he
he
he
he
he
.Rœ RÔœRœ Rœ RœRœ Jœ œ
ha
ha
u
u
a
a
ho
ho
u
u
a
a
ho
ho
da
da
Jœ Jœ Jœ Jœ œi
i
vo
vo
de
de
lo
lo
da
da
Jœ Jœ œ œe
e
he
he
he
he
he
he
∑
∑
Ó œhe
he
∑
∑
Ó œhe
he
.Rœ RÔœRœ Rœ RœRœ Jœ œ
ha
ha
u
u
a
a
ho
ho
u
u
a
a
ho
ho
da
da
Jœ Jœ Jœ Jœ œvaQ
vaQ
vo
vo
de
de
lo
lo
da
da
Jœ Jœ œ œe
e
he
he
he
he
he
he
Rœ RœRœ Rœ RœRœ Jœ œ
ha
ha
u
u
a
a
ho
ho
u
u
a
a
ho
ho
da
da
Jœ Jœ Jœ Jœ œsa
sa
qar
qar
Tve
Tve
lo
lo
da
da
Jœ Jœ œ œe
e
he
he
he
he
he
he
∑
∑
Ó œhe
he
∑
∑
Ó œhe
he
.Rœ RÔœRœ Rœ RœRœ Jœ œ
ha
ha
u
u
a
a
ho
ho
u
u
a
a
ho
ho
da
da
Jœ Jœ Jœ Jœ œvaQ
vaQ
vo
vo
de
de
lo
lo
da
da
Jœ Jœ œ œe
e
he
he
he
he
he
he
- - -
- - -
200
V
V
?
V
V
?
bb
b b
b b
b b
b b
b b
Rœ RœRœ Rœ RœRœ Jœ œ
ha
ha
u
u
a
a
ho
ho
u
u
a
a
ho
ho
da
da
Jœ Jœ Jœ Jœ œi
i
vo
vo
de
de
lo
lo
da
da
Jœ Jœ œ œe
e
he
he
he
he
he
he
∑
∑
Ó œhe
he
∑
∑
Ó œhe
he
.Rœ RÔœRœ Rœ RœRœ Jœ œ
ha
ha
u
u
a
a
ho
ho
u
u
a
a
ho
ho
da
da
Jœ Jœ Jœ Jœ œvaQ
vaQ
vo
vo
de
de
lo
lo
da
da
Jœ Jœ œ œe
e
he
he
he
he
he
he
.Rœ RÔœRœ Rœ RœRœ Jœ œ
ha
ha
u
u
a
a
ho
ho
u
u
a
a
ho
ho
da
da
Jœ Jœ Jœ Jœ œi
i
vo
vo
de
de
lo
lo
da
da
Jœ Jœ œ œe
e
he
he
he
he
he
he
∑
∑
Ó œhe
he
∑
∑
Ó œhe
he
RÔœ .Rœ RÔœ .Rœ RÔœ .Rœ Jœ œ
i
i
a
a
u
u
o
o
i
i
a
a
ho
ho
da
da
Jœ Jœ Jœ Jœ œvaQ
vaQ
vo
vo
de
de
lo
lo
da
da
Jœ Jœ œ œe
e
he
he
he
he
he
he
.Rœ RÔœRœ Rœ RœRœ Jœ œ
ha
ha
u
u
a
a
ho
ho
u
u
a
a
ho
ho
da
da
Jœ Jœ Jœ Jœ œa
a
qa
qa
mde
mde
lo
lo
da
da
Jœ Jœ œ œe
e
he
he
he
he
he
he
∑
∑
Ó œhe
he
∑
∑
Ó œhe
he
RÔœ .Rœ RÔœ .Rœ RÔœ .Rœ Jœ œ
i
i
a
a
u
u
o
o
i
i
a
a
ho
ho
da
da
Jœ Jœ Jœ Jœ œvaQ
vaQ
vo
vo
de
de
lo
lo
da
da
Jœ Jœ œ œe
e
he
he
he
he
he
he
- -
- -
201
V
V
?
V
V
?
bb
b b
b b
b b
b b
b b
n b
n b
n b
n b
n b
n b
RÔœ .Rœ RÔœ .Rœ RÔœ .Rœ Jœ œ
i
i
a
a
u
u
o
o
i
i
a
a
ho
ho
da
daœ œ Jœ .Jœ Rœ œi
i
o
o
de
de
lo
lo
da
da
Jœ Jœ œ œe
e
he
he
he
he
he
he
∑
∑
Ó œhe
he
∑
∑
Ó œhe
he
RÔœ .Rœ RÔœ .Rœ RÔœ .Rœ Jœ œ
i
i
a
a
u
u
o
o
i
i
a
a
ho
ho
da
da
Jœ Jœ Jœ Jœ œvaQ
vaQ
vo
vo
de
de
lo
lo
da
da
Jœ Jœ œ œe
e
he
he
he
he
he
he
.Rœ RÔœRœ Rœ RœRœ Jœ œ
ha
ha
u
u
a
a
ho
ho
u
u
a
a
ho
ho
da
daœ œ Jœ Jœ Jœ œi
i
o
o
de
de
la
la
da
da
Jœ Jœ œ œe
e
he
he
he
he
he
he
∑
∑
Ó œhe
he
∑
∑
Ó œhe
he
RÔœ .Rœ RÔœ .Rœ RÔœ .Rœ Jœ œ
i
i
a
a
u
u
o
o
i
i
a
a
ho
ho
da
da
Jœ Jœ Jœ Jœ œvaQ
vaQ
vo
vo
de
de
lo
lo
da
da
Jœ Jœ œ œe
e
he
he
he
he
he
he
Rœ RœRœ Rœ RœRœ Jœ œ
ha
ha
u
u
a
a
ho
ho
u
u
a
a
ho
ho
da
da
jœ Jœ œ œe
e
he
he
he
he
da
da
Jœ Jœ œ œe
e
he
he
he
he
he
he
∑
∑
Ó œhe
he
∑
∑
∑
.Rœ RÔœRœ Rœ RœRœ Jœ œ
ha
ha
u
u
a
a
ho
ho
u
u
a
a
ho
ho
da
da
Jœ Jœ Jœ Jœ œvaQ
vaQ
vo
vo
de
de
lo
lo
da
da
Jœ Jœ œ œe
e
he
he
he
he
he
he
*1)
1) ix SeniSvna gv. 176-ze.
1) See the note on page 176.
202
V
V
?
V
V
?
b
b
b
b
b
b
83
83
83
83
83
83
44
44
44
44
44
44
83
83
83
83
83
83
44
44
44
44
44
44
83
83
83
83
83
83
∑
œb .Rœ RÔœ Rœ Rœ œ œ Jœ ≈voQ
voQ
vo
vo
ho
ho
ho
ho
i
i
vo
vo
ho
ho
∑
∑
∑
∑
Adagio A67
1)
∑
∑
.œho
ho
∑
∑
∑
∑
Rœ Rœn Rœ Rœ Rœ Rœ Jœ Rœ Rœ Jœ Rœ Rœ œ6
vo
vo
ho
ho
i
i
a
a
vo
vo
i
i
o
o
vo
vo
ho
ho
ho
ho
vo
vo
ho
ho
ho
how
∑
∑
∑
∑
∑
∑
∑
∑
.œho
ho
∑
∑
∑
∑
Rœ Rœ .Jœ R¿ Rœ Rœ ˙vo
vo
ho
ho
ho
ho
i
i
vo
vo
ho
ho
ho
how
~~~
~~~
1) sinamdvileSi audio CanawerSi am adgilze JRers la bemoli (kvintiT dabla) da aqedan simRera TandaTan maRldeba kvintiT (simReris bolomde).
2) Actually, in the recording here sounds A flat (a fifth lower) and from here the song gradually goes a fifth higher (until the end of the song).
203
V
V
?
V
V
?
b
b
b
b
b
b
83
83
83
83
83
83
44
44
44
44
44
44
43
43
43
43
43
43
83
83
83
83
83
83
45
45
45
45
45
45
87
87
87
87
87
87
44
44
44
44
44
44
∑
∑
.œho
ho
∑
.œ
∑
∑
.œ J¿ .Jœ R¿ Jœ R¿ ≈ho
ho
i
i
ho
ho
a
a
ho
ho
a
aw
∑
∑
∑
∑
Rœ .Jœ ˙o
o
ho
ho.˙
∑
∑
∑
∑
∑
∑
∑
∑
.œho
ho
∑
∑
∑
∑
˙ Rœ Rœ Jœ ˙voQ
voQ
vo
vo
ho
ho
ho
how œ
∑
œ œ œ .œ œ jœ ‰heQ
heQ
a
a
ha
ha
ha
ha. .˙ho
ho
∑
∑
∑
~~~~ ~~~ ~~
~~~~~~~~~~
~~~~
~~~~
204
V
V
?
V
V
?
b
b
b
b
b
b
44
44
44
44
44
44
87
87
87
87
87
87
44
44
44
44
44
44
œ .Jœ Rœb .œ Jœvo
vo
de
de
li
li
a
a
ho
ho
œ œ œ œvo
vo
hoQ
hoQ
vo
vo
ho
ho.˙ œho
ho
∑
∑
∑
Adagio A73
∑
∑
∑
∑
.˙ ‰he
he. .˙ho
ho
∑
∑
∑
œ .Jœ Rœn œ œvo
vo
de
de
li
li
a
a
ho
ho
œ œ œ œQe
Qe
heQ
heQ
vo
vo
ho
ho.˙ œho
ho
œ œ jœ .Jœ Rœ Jœ Jœvo
vo
ho
ho
u
u
a
a
ho
ho
ho
ho
ho
ho
. .˙ ‰vo
vowho
ho
œ Ó .heQ
heQ
œ Ó .he
he
∑
poco a poco accelerando
Rœ Rœ Rœ Rœ Rœ Rœ Rœ Rœ R
œ Rœ Rœ Rœ œu
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
ho
ho
œ .Jœ Rœ œ œeQ
eQ
he
he
i
i
vo
vo
ho
ho.˙ œho
ho
∑
∑
∑
∑
∑
∑
.Jœ Rœ Jœ Jœjœ .Jœ Rœ Jœ Jœ
vo
vo
de
de
la
la
ho
ho
u
u
a
a
ho
ho
ho
ho
ho
ho
. .˙ ‰vo
vowho
ho
~~
~~
205
V
V
?
V
V
?
b
b
b
b
b
b
∑
∑
∑
Rœ Rœ Rœ Rœ Rœ Rœ Rœ Rœ R
œ Rœ Rœ Rœ œu
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
ho
ho
œ œ œ œeQ
eQ
da
da
hi
hi
o
o.˙ œho
ho
.Jœ Rœ .Jœ Rœ Rœ Rœ Rœ Rœ œvo
vo
i
i
vo
vo
de
de
li
li
vo
vo
de
de
la
la
da
da
. .˙ ‰vo
vowho
ho
∑
∑
∑
jœ Jœ œ jœ jœ œhe
he
i
i
da
da
vo
vo
ho
ho
ho
ho
œ .Jœ rœ Jœ Jœ œhe
he
he
he
i
i
e
e
he
he
he
he.˙ œho
ho
∑
∑
∑
∑
∑
∑
.Jœ Rœ .Jœ Rœ Rœ Rœ Rœ Rœ œvo
vo
i
i
vo
vo
de
de
li
li
vo
vo
de
de
la
la
da
da
. .˙ ‰vo
vowho
ho
∑
∑
∑
.jœ Rœrœ rœ jœ œ œ
he
he
i
i
da
da
i
i
va
va
vo
vo
ho
ho
œ œ œ œeQ
eQ
da
da
vo
vo
ho
ho.˙ œho
ho
206
V
V
?
V
V
?
b
b
b
b
b
b
Jœ Jœ Jœ Jœ Jœ Jœ œvoQ
voQ
de
de
li
li
a
a
na
na
ni
ni
na
na
. .˙ ‰vo
vowho
ho
∑
∑
∑
jœ Jœ œ jœ jœ œheQ
heQ i
i
da
da
vo
vo
ho
ho
ho
ho
.Jœ œ Rœ œ œhe
he
he
he
i
i
vo
vo
ho
ho.˙ œho
ho
∑
∑
∑
∑
∑
∑
Jœ Jœ Jœ Rœ Rœ Jœ Jœ œvov
vov
de
de
li
li
a
a
da
da
na
na
ni
ni
na
na
. .˙ ‰vo
vowho
ho
∑
∑
∑
jœ Jœrœ rœ jœ œ œ
he
he
i
i
da
da
i
i
va
va
vo
vo
ho
ho
œ œ œ œheQ
heQ
da
da
o
o
ho
ho.˙ œho
ho
.Jœ Rœ œ .Jœ Rœ œna
na
ni
ni
na
na
na
na
ni
ni
na
na
œ jœ œ .œ ‰3
heQ
heQ
de
de
a
awho
ho
∑
∑
∑
~~
207
V
V
?
V
V
?
b
b
b
b
b
b
jœ Jœ œ jœ jœ œhew
hew
i
i
da
da
vo
vo
ho
ho
ho
ho
.Jœ œ Rœ Jœ Jœ œhe
he
he
he
i
i
o
o
ho
ho
ho
ho.˙ œho
ho
∑
∑
∑
∑
∑
∑
.Jœ Rœ œ .Jœ Rœ œna
na
ni
ni
na
na
na
na
ni
ni
na
na
. .˙ ‰a
awho
ho
∑
∑
∑
.jœ Rœrœ rœ jœ œ œ
he
he
i
i
da
da
i
i
va
va
vo
vo
ho
ho
œ œ Jœ Jœ œheQ
heQ
he
he
o
o
ho
ho
ho
ho.˙ œho
ho
.Jœ Rœ .Jœ Rœ Rœ Rœ Rœ Rœ œvo
vo
i
i
vo
vo
de
de
li
li
vo
vo
de
de
la
la
da
da
œ Rœrœ rœ rœ .œ ‰
heQ
heQ
de
de
la
la
da
da
va
vawho
ho
∑
∑
∑
jœ Jœ œ jœ jœ œheQ
heQ i
i
da
da
vo
vo
ho
ho
ho
ho
.Jœ Rœ Jœjœ Jœ Jœ œ
heQ
heQ
he
he
i
i
e
e
he
he
he
he.˙ œho
ho
∑
∑
∑
208
V
V
?
V
V
?
b
b
b
b
b
b
87
87
87
87
87
87
45
45
45
45
45
45
42
42
42
42
42
42
45
45
45
45
45
45
43
43
43
43
43
43
∑
∑
∑
œ .Jœ Rœ Rœ Rœ Rœ Rœ œvoQ
voQ
vo
vo
de
de
li
li
vo
vo
de
de
la
la
da
da
. .˙ ‰va
vawho
ho
∑
∑
∑
.jœ Rœrœ rœ jœ œ œ
he
he
i
i
da
da
i
i
va
va
vo
vo
ho
ho
œ œ Jœ Jœ œheQ
heQ
he
he
vo
vo
ho
ho
ho
ho.˙ œho
ho
∑
jœ Jœjœ .jœ rœ jœ Œ
3
he
he
i
i
e
e
de
de
la
la
da
da. .˙ho
ho
∑
∑
∑
œ œ œ ˙a
a
ba
ba
rZa
rZa
lo
lo
œ œ œ ˙a
a
ba
ba
rZa
rZa
lo
lo.˙ ˙
∑
∑
∑
Andante A96
.œ ‰
Jœ Œ .
Jœ Œ .
∑
∑
˙ho
ho
∑
∑
∑
œ œ œ ˙a
a
ba
ba
rZa
rZa
lo
lo
œ œ œ ˙a
a
ba
ba
rZa
rZa
lo
lo.˙ ˙
~~~~~
- -
- -
- -
- -
- -
- -
- -
- -
209
V
V
?
V
V
?
b
b
b
b
b
b
43
43
43
43
43
43
89
89
89
89
89
89
83
83
83
83
83
83
89
89
89
89
89
89
44
44
44
44
44
44
∑
œ œ œ rœ jœ ‰heQ
heQ
de
de
la
la
da
da.˙ho
ho
œ œ ≈ Ó
.Jœ ≈ Ó
Jœ ‰ Ó
œ œ œ .œa
a
ba
ba
rZa
rZa
lo
lo
œ œ œ .œa
a
ba
ba
rZa
rZa
lo
lo.˙ .œ
∑
∑
∑
Jœ Œ
Jœ Œ
Jœ Œ
∑
∑
.œho
ho
∑
∑
∑
œ œ œ .œa
a
ba
ba
rZa
rZa
lo
lo
œ œ œ .œa
a
ba
ba
rZa
rZa
lo
lo.˙ .œ
œ œ Jœ Jœ œvo
vo
de
de
la
la
ho
ho
ho
ho
Jœ jœ ˙ jœ ‰he
he
de
de
a
awho
ho
Jœ Ó . .
Jœ Ó . .
Jœ Ó . .
poco a poco accelerando
Rœ Rœ Rœ Rœ Rœ Rœ Rœ Rœ R
œ Rœ Rœ Rœ œu
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
ho
ho
œ œ œ œe
e
heQ
heQ
vo
vo
ho
ho.˙ œho
ho
∑
∑
∑
~~~
~~
- -
- -
~~
- -
- -
- -
- -
- -
- -
210
V
V
?
V
V
?
b
b
b
b
b
b
∑
∑
∑
.Jœ Rœ Jœ Jœjœ .Jœ Rœ Jœ Jœ
vo
vo
de
de
la
la
ho
ho
u
u
a
a
ho
ho
ho
ho
ho
ho
. .˙ ‰va
vawho
ho
∑
∑
∑
Rœ Rœ Rœ Rœ Rœ Rœ Rœ Rœ R
œ Rœ Rœ Rœ œu
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
ho
ho
œ œ œ œheQ
heQ
da
da
hi
hi
vo
vo.˙ œho
ho
œ .Jœ Rœ Rœ Rœ Rœ Rœ œvoQ
voQ
vo
vo
de
de
li
li
vo
vo
de
de
la
la
da
da
œ ˙ jœ ‰heQ
heQ
va
vawho
ho
∑
∑
∑
jœ Jœ œ jœ jœ œhe
he
i
i
da
da
vo
vo
ho
ho
ho
ho
Jœ Jœ Jœ Jœ Jœ Jœ œhe
he
i
i
vo
vo
i
i
vo
vo
ho
ho
ho
ho.˙ œho
ho
∑
∑
∑
∑
∑
∑
œ .Jœ Rœ Rœ Rœ Rœ Rœ œvoQ
voQ
vo
vo
de
de
li
li
vo
vo
de
de
la
la
da
da
.˙ Œva
vawho
ho
~~~
211
V
V
?
V
V
?
b
b
b
b
b
b
∑
∑
∑
jœ Jœ .rœ rKœ jœ œ œhe
he
i
i
da
da
i
i
va
va
vo
vo
ho
ho
œ œ Jœ Jœ œheQ
heQ
he
he
vo
vo
ho
ho
ho
ho.˙ œho
ho
Jœ Jœ Jœ Jœ Jœ Jœ œoQ
oQ
de
de
li
li
a
a
ra
ra
ni
ni
na
na
œ ˙ jœ ‰heQ
heQ
va
vawho
ho
∑
∑
∑
jœ Jœ œ jœ jœ œhe
he
i
i
da
da
vo
vo
ho
ho
ho
ho
Jœ Jœ Jœ Jœ Jœ Jœ œhe
he
i
i
vo
vo
i
i
vo
vo
ho
ho
ho
ho.˙ œho
ho
∑
∑
∑
∑
∑
∑
Jœ Jœ Jœ Rœ Rœ Jœ Jœ œvov
vov
de
de
li
li
a
a
da
da
na
na
ni
ni
na
na
.˙ Œva
vawho
ho
∑
∑
∑
jœ Jœ .rœ rKœ jœ œ œ œhe
he
i
i
da
da
i
i
va
va
vo
vo
ho
ho
œ œ Jœ Jœ œhe
he
he
he
vo
vo
ho
ho
ho
ho.˙ œho
ho
~~~~~
212
V
V
?
V
V
?
b
b
b
b
b
b
Jœ œ œ Jœ Jœ Jœ Jœ œSen
Sen
ga
ga
ko
ko
ceb
ceb
sxvas
sxvas
a
a
ra
ra
œ ˙ jœ ‰heQ
heQ
va
vawho
ho
∑
∑
∑
jœ Jœ œ jœjœ œ
he
he
i
i
da
da
vo
vo
ho
ho
ho
ho
œ œ Jœ Jœ œheQ
heQ
heQ
heQ
e
e
he
he
he
he.˙ œho
ho
∑
∑
∑
∑
∑
∑
Jœ Jœ Jœ Jœ Jœ Jœ œSen
Sen
ga
ga
ko
ko
ceb
ceb
sxvas
sxvas
a
a
ra
ra
. .˙ ‰va
vawho
ho
∑
∑
∑
jœ Jœ .rœ rKœ jœ œ œ œhe
he
i
i
da
da
i
i
va
va
vo
vo
ho
ho
œ œ œ œheQ
heQ
da
da
hi
hi
o
o.˙ œho
ho
Jœ Jœ Jœ Jœ Jœ Jœ œar
ar
ge
ge
go
go
no
no
mas
mas
xa
xa
ra
ra
œ ˙ jœ ‰heQ
heQ
va
vawho
ho
∑
∑
∑
~~~~~~~ ~~~~~
- - -
- - -
- - - -
- - - - - - -
- - -
213
V
V
?
V
V
?
b
b
b
b
b
b
43
43
43
43
43
43
45
45
45
45
45
45
83
83
83
83
83
83
45
45
45
45
45
45
43
43
43
43
43
43
jœ Jœ œ jœjœ œ
he
he
i
i
da
da
vo
vo
ho
ho
ho
ho
œ œ Jœ Jœ œheQ
heQ
heQ
heQ
e
e
he
he
he
he.˙ œho
ho
∑
∑
∑
∑
∑
∑
Jœ Jœ Jœ Jœ Jœ Jœ œar
ar
ge
ge
go
go
no
no
mas
mas
xa
xa
ra
ra
. .˙ ‰va
vawho
ho
∑
∑
∑
jœ Jœjœ jœ jœ jœ œ
he
he
i
i
daQ
daQ
va
va
vo
vo
ho
ho
ho
ho
œ œ Jœ Jœ œheQ
heQ
he
he
vo
vo
ho
ho
ho
ho.˙ œho
ho
∑
Jœ .jœ rœ œ ‰
he
he
i
i
da
da
ha
ha.˙ho
ho
∑
∑
∑
œ œ œ ˙a
a
ba
ba
rZa
rZa
lo
lo
œ œ œ ˙a
a
ba
ba
rZa
rZa
lo
lo.˙ ˙
∑
∑
∑
Moderato A112
œ ‰
œ ‰
œ ‰
∑
∑
.œho
ho
∑
∑
∑
œ œ œ ˙a
a
ba
ba
rZa
rZa
lo
lo
œ œ œ ˙a
a
ba
ba
rZa
rZa
lo
lo.˙ ˙
poco a poco accelerando
~~~~~
- -
- -
- - - -
- -
- -
- -
- -
- - - - - -
- -
214
V
V
?
V
V
?
b
b
b
b
b
b
43
43
43
43
43
43
44
44
44
44
44
44
83
83
83
83
83
83
44
44
44
44
44
44
42
42
42
42
42
42
∑
Jœ .jœ rœ œ ‰he
he
i
i
da
da
ha
ha.˙ho
ho
Jœ ‰ Ó
Jœ ‰ Ó
Jœ ‰ Ó
œ œ œ œa
a
ba
ba
rZa
rZa
lo
lo
œ œ œ œa
a
ba
ba
rZa
rZa
lo
low
∑
∑
∑
œ ‰
œ ‰
œ ‰
∑
∑
.œho
ho
∑
∑
∑
œ œ œ œa
a
ba
ba
rZa
rZa
lo
lo
œ œ œ œa
a
ba
ba
rZa
rZa
lo
low
Œ Jœ JœQa
Qa
ho
ho
œ œ Jœ Jœi
i
Qa
Qa
ho
ho.œ Jœho
ho
ho
ho
Rœ Œ . .
Rœ Œ . .
Rœ Œ . .
Largo A40
∑
∑
∑
Œ Jœ JœQa
Qa
ho
ho
Jœ Jœ Jœ Jœhi
hi
Qi
Qi
Qa
Qa
ho
ho.œ Jœho
ho
ho
ho
molto accelerando - A48 DF A122
Jœrœ ≈ Jœ Jœ
heQ
heQ
da
da
Qa
Qa
ho
ho
Jœ ‰ Jœ Jœhi
hi
i
i
o
o.œ Jœho
ho
ho
ho
∑
∑
∑
∑
∑
∑
Œ Jœ JœQa
Qa
ho
ho
Jœ Jœ Jœ Jœhi
hi
Qi
Qi
Qa
Qa
ho
ho.œ Jœho
ho
ho
ho
~~~~~~
- -
- -
- -
- -
- -
- -
- -
- -
215
V
V
?
V
V
?
b
b
b
b
b
b
Jœrœ ≈ Jœ Jœ
heQ
heQ
da
da
Qa
Qa
ho
ho
Jœ ‰ Jœ Jœhi
hi
i
i
o
o.œ Jœho
ho
ho
ho
∑
∑
∑
∑
∑
∑
Œ Jœ JœQa
Qa
ho
ho
Jœ ‰ Jœ Jœhi
hi
i
i
o
o.œ Jœho
ho
ho
ho
Jœjœ Jœ Jœ
heQ
heQ
da
da
i
i
o
o
Jœ ‰ Jœ Jœhi
hi
i
i
o
o.œ Jœho
ho
ho
ho
∑
∑
∑
∑
∑
∑
Jœ Jœ Jœ JœhoQ
hoQ
da
da
i
i
o
o
Jœ ‰ Jœ Jœhi
hi
i
i
o
o.œ Jœho
ho
ho
ho
Jœjœ Jœ Jœ
heQ
heQ
da
da
i
i
o
o
Jœ ‰ Jœ Jœhi
hi
i
i
o
o.œ Jœho
ho
ho
ho
∑
∑
∑
∑
∑
∑
Jœ Jœ Jœ JœhoQ
hoQ
da
da
i
i
o
o
Jœ ‰ Jœ Jœhi
hi
i
i
o
o.œ Jœho
ho
ho
ho
Jœjœ Jœ Jœ
heQ
heQ
da
da
i
i
o
o
Jœ ‰ Jœ Jœhi
hi
i
i
o
o.œ Jœho
ho
ho
ho
∑
∑
∑
∑
∑
∑
Jœ Jœ Jœ JœhoQ
hoQ
da
da
i
i
o
o
Jœ ‰ Jœ Jœhi
hi
i
i
o
o.œ Jœho
ho
ho
ho
Jœjœ Jœ Jœ
heQ
heQ
da
da
i
i
o
o
Jœ ‰ Jœ Jœhi
hi
i
i
o
o.œ Jœho
ho
ho
ho
∑
∑
∑
∑
∑
∑
Jœ Jœ Jœ JœhoQ
hoQ
da
da
i
i
o
o
Jœ ‰ Jœ Jœhi
hi
i
i
o
o.œ Jœho
ho
ho
ho
216
V
V
?
V
V
?
b
b
b
b
b
b
Jœjœ Jœ Jœ
heQ
heQ
da
da
i
i
o
o
Jœ ‰ Jœ Jœhi
hi
i
i
o
o.œ Jœho
ho
ho
ho
∑
∑
∑
∑
∑
∑
Jœ Jœ Jœ JœhoQ
hoQ
da
da
i
i
o
o
Jœ ‰ Jœ Jœhi
hi
i
i
o
o.œ Jœho
ho
ho
ho
Jœjœ Jœ Jœ
heQ
heQ
da
da
i
i
o
o
Jœ ‰ Jœ Jœhi
hi
i
i
o
o.œ Jœho
ho
ho
ho
∑
∑
∑
∑
∑
∑
Jœ Jœ Jœ JœhoQ
hoQ
da
da
i
i
o
o
Jœ ‰ Jœ Jœhi
hi
i
i
o
o.œ Jœho
ho
ho
ho
Œ œo
o
œ œi
i
o
o˙ho
ho
∑
∑
∑
Allegro A126
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
∑
∑
∑
molto accelerando - A134 DF A176
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
217
V
V
?
V
V
?
b
b
b
b
b
b
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œo
o
ho
ho
œ œi
i
o
o
œ œo
o
ho
ho
∑
∑
∑
Prestissimo A280
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œo
o
ho
ho
œ œi
i
o
o
œ œo
o
ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œo
o
ho
ho
œ œi
i
o
o
œ œo
o
ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
218
V
V
?
V
V
?
b
b
b
b
b
b
œ œo
o
ho
ho
œ œi
i
o
o
œ œo
o
ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œo
o
ho
ho
œ œi
i
o
o
œ œo
o
ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œo
o
ho
ho
œ œi
i
o
o
œ œo
o
ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œo
o
ho
ho
œ œi
i
o
o
œ œo
o
ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œo
o
ho
ho
œ œi
i
o
o
œ œo
o
ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œo
o
ho
ho
œ œi
i
o
o
œ œo
o
ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
219
V
V
?
V
V
?
b
b
b
b
b
b
œ œo
o
ho
ho
œ œi
i
o
o
œ œo
o
ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œo
o
ho
ho
œ œi
i
o
o
œ œo
o
ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œo
o
ho
ho
œ œi
i
o
o
œ œo
o
ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œo
o
ho
ho
œ œi
i
o
o
œ œo
o
ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œo
o
ho
ho
œ œi
i
o
o
œ œo
o
ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
∑
∑
∑
Prestissimo A210
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
220
V
V
?
V
V
?
b
b
b
b
b
b
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œo
o
ho
ho
œ œi
i
o
o
œ œo
o
ho
ho
∑
∑
∑
Prestissimo A280
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œo
o
ho
ho
œ œi
i
o
o
œ œo
o
ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
221
V
V
?
V
V
?
b
b
b
b
b
b
œ œo
o
ho
ho
œ œi
i
o
o
œ œo
o
ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œo
o
ho
ho
œ œi
i
o
o
œ œo
o
ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œo
o
ho
ho
œ œi
i
o
o
œ œo
o
ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œo
o
ho
ho
œ œi
i
o
o
œ œo
o
ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œo
o
ho
ho
œ œi
i
o
o
œ œo
o
ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œo
o
ho
ho
œ œi
i
o
o
œ œo
o
ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œo
o
ho
ho
œ œi
i
o
o
œ œo
o
ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
222
V
V
?
V
V
?
b
b
b
b
b
b
œ œo
o
ho
ho
œ œi
i
o
o
œ œo
o
ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œo
o
ho
ho
œ œi
i
o
o
œ œo
o
ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
∑
∑
∑
Prestissimo A210
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œi
i
o
o
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œi
i
o
o
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œi
i
o
o
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œi
i
o
o
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œi
i
o
o
223
V
V
?
V
V
?
b
b
b
b
b
b
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œo
o
ho
ho
œ œi
i
o
o
œ œo
o
ho
ho
∑
∑
∑
Prestissimo A280
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œo
o
ho
ho
œ œi
i
o
o
œ œo
o
ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œo
o
ho
ho
œ œi
i
o
o
œ œo
o
ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œo
o
ho
ho
œ œi
i
o
o
œ œo
o
ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œo
o
ho
ho
œ œi
i
o
o
œ œo
o
ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œo
o
ho
ho
œ œi
i
o
o
œ œo
o
ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
224
V
V
?
V
V
?
b
b
b
b
b
b
œ œo
o
ho
ho
œ œi
i
o
o
œ œo
o
ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œo
o
ho
ho
œ œi
i
o
o
œ œo
o
ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œo
o
ho
ho
œ œi
i
o
o
œ œo
o
ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œo
o
ho
ho
œ œi
i
o
o
œ œo
o
ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œo
o
ho
ho
œ œi
i
o
o
œ œo
o
ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œo
o
ho
ho
œ œi
i
o
o
œ œo
o
ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
œ œo
o
ho
ho
œ œi
i
o
o
œ œo
o
ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œheQ
heQ
da
da
225
V
V
?
V
V
?
b
b
b
b
b
b
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
∑
∑
∑
Prestissimo A210
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œi
i
o
o
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œi
i
o
o
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œi
i
o
o
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œi
i
o
o
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œi
i
o
o
œ œi
i
o
o
œ œi
i
o
o˙ho
ho
∑
∑
∑
∑
∑
∑
œ œi
i
o
o
œ œi
i
o
oœ œi
i
o
o
œ œi
i
o
o
œ œi
i
o
o˙ho.
ho.
∑
∑
∑
∑
∑
˙
œ œi
i
o
o
œ œi
i
o
o˙ho.
ho.
˙ho.
ho.
˙ho.
ho.˙
∑
∑
˙
˙
˙
˙
˙ho.
ho.
˙ho.
ho.˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
226
V
V
?
V
V
?
bbb b b
b b b b b
b b b b b
b b b b b
b b b b b
b b b b b
44
44
44
44
44
44
Œ œ œ œha
ha
u
u
a
a
œ œ œ .œ œo
o
ho
ho
ho
ho
ho
ho
Ó ˙o
o
∑
∑
∑
Allegro A144 poco a poco accelerando al A152
œ œ œ œi
i
a
a
u
u
a
a
œ œ œ œ œo
o
ho
ho
ho
ho
ho
ho
w
∑
∑
∑
œ œ Jœ Jœ œi
i
a
a
i
i
ri
ri
a
a
œ œ œ œo
o
ho
ho
ho
ho
ho
ho
w
∑
∑
∑
rœ .Jœ Rœ .Jœ Rœ .Jœ Rœ œ
i
i
a
a
i
i
a
a
i
i
a
a
ha
ha
ho
ho
Jœ Jœ .Jœ Rœ Jœjœ œ
vo
vo
ri
ri
vo
vo
de
de
li
li
a
a
da
da
w
∑
∑
∑
.˙ Œho
ho
.˙ Œda
da
who
ho
w
∑
∑
∑
Jœ JœJœ Jœ JœJœ œ
Qa
Qa
i
i
a
a
ho
ho
i
i
a
a
ho
ho
œ œ ˙Qe
Qe
le
le
sa
sa
œ œ ˙o
o
ho
ho
ho
ho
w
∑
∑
∑
- -
- -
6. elesa@@@@
Elesa
I choir
II choir
guria
Guria
227
V
V
?
V
V
?
bbb b b
b b b b b
b b b b b
b b b b b
b b b b b
b b b b b
˙ Óho
ho
˙ Óho
ho
˙ Óho
ho
œ œ œ œo
o
ha
ha
i
i
a
a
œ œ œ œo
o
ho
ho
ho
ho
ho
ho
Ó ˙o
o
∑
∑
∑
œ œ œ œu
u
a
a
i
i
a
a
œ œ œ œo
o
ho
ho
ho
ho
ho
ho
w
∑
∑
∑
œ œ œ œu
u
a
a
i
i
a
a
œ œ œ œo
o
ho
ho
ho
ho
ho
ho
w
∑
∑
∑
Jœ Jœ œ Jœ Jœ œu
u
ru
ru
a
a
u
u
a
a
ho
ho
Jœ Jœ Jœ Jœ Jœ Jœ œde
de
li
li
vo
vo
de
de
li
li
a
a
da
da
w
∑
∑
∑
.˙ Œho
ho
.˙ Œda
da
who
ho
w
∑
∑
∑
Jœ JœJœ Jœ J
œJœ œ
Qa
Qa
u
u
a
a
ho
ho
u
u
a
a
ho
ho
œ œ ˙Qe
Qe
le
le
sa
sa
œ œ ˙o
ho
ho
ho
ho
o
w- -
- -
228
V
V
?
V
V
?
bbb b b
b b b b b
b b b b b
b b b b b
b b b b b
b b b b b
œ œ Jœ Jœ œu
u
a
a
i
i
ri
ri
a
a
œ œ œ .œ œo
o
ho
ho
ho
ho
ho
ho
Ó ˙o
o
˙ Óho
ho
˙ Óho
ho
˙ Óho
ho
Jœ Jœ œ Jœ Jœ œi
i
ri
ri
a
a
u
u
ru
ru
a
a
œ œ œ œ œo
o
ho
ho
ho
ho
ho
ho
w
∑
∑
∑
Jœ Jœ œ Jœ Jœ œi
i
ri
ri
a
a
u
u
ru
ru
a
a
œ œ œ œo
o
ho
ho
ho
ho
ho
ho
w
∑
∑
∑
rœ .Jœ Rœ .Jœ Rœ .Jœ Rœ œ
i
i
a
a
u
u
a
a
i
i
a
a
ha
ha
ho
ho
Jœ Jœ .Jœ Rœ Jœjœ œ
de
de
li
li
vo
vo
de
de
li
li
a
a
da
da
w
∑
∑
∑
.˙ Œho
ho
.˙ Œda
da
who
ho
w
∑
∑
∑
Jœ JœJœ Jœ JœJœ œ
Qa
Qa
u
u
a
a
ho
ho
i
i
a
a
ho
ho
œ œ ˙Qe
Qe
le
le
sa
sa
œ œ ˙o
o
ho
ho
ho
ho
w
∑
∑
∑
- -
- -
229
V
V
?
V
V
?
bbb b b
b b b b b
b b b b b
b b b b b
b b b b b
b b b b b
˙ Óho
ho
˙ Óho
ho
˙ Óho
ho
œ œ œ œi
i
a
a
u
u
a
a
œ œ œ œ œo
o
ho
ho
ho
ho
ho
ho
Ó ˙o
ho
∑
∑
∑
Jœ Jœ œ Jœ Jœ œi
i
ri
ri
a
a
u
u
ru
ru
a
a
œ œ œ œo
o
ho
ho
ho
ho
ho
ho
w
∑
∑
∑
Jœ Jœ œ Jœ Jœ œi
i
ri
ri
a
a
u
u
ru
ru
a
a
œ œ œ œo
o
ho
ho
ho
ho
ho
ho
w
∑
∑
∑
Jœ Jœ œ Jœ Jœ œi
i
ri
ri
a
a
u
u
a
a
ho
ho
Jœ Jœ Jœ Jœ Jœjœ œ
de
de
li
li
vo
vo
de
de
li
li
a
a
da
da
w
∑
∑
∑
.˙ Œho
ho
.˙ Œda
da
who
ho
w
∑
∑
∑
Jœ JœJœ Jœ JœJœ œ
ha
ha
u
u
a
a
ho
ho
u
u
a
a
ho
ho
œ œ ˙Qe
Qe
le
le
sa
sa
œ œ ˙o
o
ho
ho
ho
ho
w- -
- -
230
V
V
?
V
V
?
bbb b b
b b b b b
b b b b b
b b b b b
b b b b b
b b b b b
Jœ Jœ œ Jœ Jœ œi
i
ri
ri
a
a
i
i
ri
ri
a
a
œ œ œ œ œo
o
ho
ho
ho
ho
ho
ho
Ó ˙o
o
˙ Óho
ho
˙ Óho
ho
˙ Óho
ho
Jœ Jœ œ Jœ Jœ œi
i
ri
ri
a
a
u
u
ru
ru
a
a
œ œ œ Jœ ‰o
o
ho
ho
ho
ho
ho
ho
w
∑
∑
∑
Jœ Jœ œ Jœ Jœ œi
i
ri
ri
a
a
u
u
ru
ru
a
a
œ œ œ œo
o
ho
ho
ho
ho
ho
ho
w
∑
∑
∑
rœJœ Jœ .Jœ R
œ .Jœ Rœ œi
i
a
a
u
u
a
a
i
i
a
a
ha
ha
ho
ho
.Jœ Rœ .Jœ Rœ Jœjœ œ
de
de
li
li
vo
vo
de
de
li
li
a
a
da
da
w
∑
∑
∑
.˙ Œho
ho
.˙ Œda
da
who
ho
w
∑
∑
∑
Jœ JœJœ Jœ JœJœ œ
Qa
Qa
u
u
a
a
ho
ho
i
i
a
a
ho
ho
œ œ ˙Qe
Qe
le
le
sa
sa
œ œ ˙o
o
ho
ho
ho
ho
w
∑
∑
∑
231
V
V
?
V
V
?
bbb b b
b b b b b
b b b b b
b b b b b
b b b b b
b b b b b
42
42
42
42
42
42
44
44
44
44
44
44
˙ Óho
ho
˙ Óho
ho
˙ Óho
ho
Jœ Jœ œ Jœ Jœ œi
i
ri
ri
a
a
u
u
ru
ru
a
a
œ œ œ œ œo
o
ho
ho
ho
ho
ho
ho
Ó ˙o
de
∑
∑
∑
Jœ Jœ œ Jœ Jœ œi
i
ri
ri
a
a
u
u
ru
ru
a
a
œ œ œ œo
o
ho
ho
ho
ho
ho
ho
w
∑
∑
∑
Jœ Jœ œ Jœ Jœ œi
i
ri
ri
a
a
u
u
ru
ru
a
a
œ œ œ œo
o
ho
ho
ho
ho
ho
ho
w
∑
∑
∑
Jœ Jœ œ Jœ Jœ œi
i
ri
ri
a
a
u
u
a
a
ho
ho
Jœ Jœ Jœ Jœ Jœjœ œ
de
de
li
li
vo
vo
de
de
li
li
a
a
da
da
w
∑
∑
∑
.˙ Œho
ho
.˙ Œda
da
who
li
w
∑
∑
∑
Jœ Jœ Jœ Jœ JœJœ œ
u
u
ru
ru
a
a
ho
ho
u
u
a
a
ho
ho
œ œ ˙Qe
Qe
le
le
sa
sa
œ œ ˙o
vo
ho
de
ho
li
w
∑
∑
∑
˙ho
ho
˙ho
ho
˙ho
a
- -
- -
232
V
V
?
V
V
?
bbb b b
b b b b b
b b b b b
b b b b b
b b b b b
b b b b b
44
44
44
44
44
44
Jœ Jœ JœJœjœJœ JœJœ Jœ
i
i
a
a
u
u
a
a
i
i
a
a
u
u
a
a
ho
ho
œ œ œ œvoQ
voQ
da
da
Qe
Qe
le
le
‰ . .˙e
e
∑
∑
Ó Ó
Allegro A144
˙ œ Œho
ho
ho
ho
˙ œ Œsa
sa
ho
ho
˙ ˙he
he
ho
ho
∑
∑
∑
∑
∑
∑
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœ
u
u
ru
ru
a
a
ho
ho
i
i
ri
ri
a
a
ho
ho
œ œ œ œvoQ
voQ
da
da
Qe
Qe
le
le
wo
da
molto accelerando al fine - A155 DF A192
∑
∑
∑
˙ œ Œha
ha
ho
ho
˙ œ Œsa
sa
ho
ho
˙ œ Œho
da
ho
Qe
.Jœ RœJœ Jœ J
œ Jœ Jœ JœQa
Qa
u
u
a
a
ho
ho
i
i
ri
ri
a
a
ho
ho
œ œ œ œvoQ
voQ
da
da
Qe
Qe
le
le
wo
o
∑
∑
∑
˙ œ Œha
ha
ho
ho
˙ œ Œsa
sa
ho
ho
˙ œ Œho
ho
ho
ho
∑
∑
∑
- - - -
- -
- - - -
- - - - -
- -
233
V
V
?
V
V
?
bbb b b
b b b b b
b b b b b
b b b b b
b b b b b
b b b b b
∑
∑
∑
Jœ Jœ JœJœ Jœ Jœ Jœ Jœ
i
i
a
a
u
u
a
a
u
u
ru
ru
a
a
ho
ho
œ œ œ œvoQ
voQ
da
da
Qe
Qe
le
le
wo
le
∑
∑
∑
˙ œ Œha
ha
ho
ho
˙ œ Œsa
sa
ho
ho
˙ œ Œho
sa
ho
ho
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœ
u
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
œ œ œ œvoQ
voQ
da
da
Qe
Qe
le
le
wo
o
∑
∑
∑
˙ œ Œha
ha
ho
ho
˙ œ Œsa
sa
ho
ho
˙ œ Œho
ho
ho
ho
∑
∑
∑
∑
∑
∑
Jœ Jœ JœJœ Jœ Jœ Jœ Jœ
i
i
a
a
u
u
a
a
u
u
ru
ru
a
a
ho
ho
œ œ œ œvoQ
voQ
da
da
Qe
Qe
le
le
wo
o
∑
∑
∑
˙ œ Œha
ha
ho
ho
˙ œ Œsa
sa
ho
ho
˙ œ Œho
ho
ho
ho
- -
- - - -
- -
- - -
- - - -
234
V
V
?
V
V
?
bbb b b
b b b b b
b b b b b
b b b b b
b b b b b
b b b b b
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœ
u
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
œ œ œ œvoQ
voQ
da
da
Qe
Qe
le
le
wo
o
∑
∑
∑
˙ œ Œha
ha
ho
ho
˙ œ Œsa
sa
ho
ho
˙ œ Œho
ho
ho
ho
∑
∑
∑
∑
∑
∑
Jœ Jœ JœJœ Jœ Jœ Jœ Jœ
i
i
a
a
u
u
a
a
u
u
ru
ru
a
a
ho
ho
œ œ œ œvoQ
voQ
da
da
Qe
Qe
le
le
wo
ho
∑
∑
∑
˙ œ Œha
ha
ho.
ho.
˙ œ Œsa
sa
ho.
ho.
˙ œ Œho
o
ho.
ho
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœ
u
u
ru
ru
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
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voQ
da
da
Qe
Qe
le
le
wo
o
∑
∑
∑
˙ ˙ha
ha
ho.
ho.
˙ ˙sa
sa
ho.
ho.
˙ ˙ho
ho
ho.
ho.
∑
∑
∑
r i t.
w
w
w
∑
∑
∑
w
w
w
∑
∑
∑
- - - -
- -
- - - -
- -
235
V
V
?
V
V
?
b
b
b
b
b
b
43
43
43
43
44
44
44
44
46
46
46
46
44
44
44
44
∑
œ Rœ .Jœ Jœ ‰vovo
hoQhoQ
dada
∑
∑
∑
∑
Adagio A67
∑
∑
∑
∑
œ Rœ Rœ œ ‰vovo
hoho
ii
dada
∑
∑
.œ œ .Jœ Rœ .œ œ Jœ rœ rœvovo
hoho
ii
vovo
hoho
ii
dada
∑
∑
∑
∑
Andante A81
.œ Jœ œ Œoo
haha
hoho
.jœ rœ Jœnjœ œ Œ
aa
haha
hoho
hoho
haha
∑
∑
∑
∑
.Jœ Rœ Jœ Jœ ˙ Óoo
dede
lala
haha
hoho
.Jœ Rœ Jœ Jœb˙ Ó
oo
hoho
hoho
hoho
hoho
∑ ˙hoho
∑
∑
∑
poco a poco accelerando
7. baileTura @@@
Bailetura
I choir
II choir
guria
Guria
236
V
V
?
V
V
?
b
b
b
b
b
b
44
44
44
44
46
46
46
46
∑
.Jœ Rœ .Jœ Rœ .Jœrœb Jœ ‰
oo
hoho
hoho
ii
hoho
hoho
hohow
∑
∑
∑
Jœ Jœ œ ˙oo
dede
lala
hoho
jœn Jœ œ ˙oo
hoho
hoho
hoho˙ Jœ Œ .
∑
∑
∑
Jœ Ó . .
Jœ Ó . .
∑
Ó Jœ RœRœ Rœ R
œRœ Rœ
vava
uu
aa
hoho
uu
aa
hoho
.Jœ Rœ .Jœ Rœ .Jœ Rœ .Jœ rœvovo
hoho
hoho
ii
vovo
hoho
hoQhoQ
dada
∑
∑
∑
∑
Rœ Rœ RœRœ œ œ Œ
uu
aa
uu
aQaQ
vovo
hoho
.jœ rœ jœ Jœ œ Œvovo
hoho
hoho
hoho
hoho
∑
237
V
V
?
V
V
?
b
b
b
b
b
b
46
46
46
46
44
44
44
44
∑
∑
∑
Jœ Rœn Rœ œ ˙ Ó
vovo
uu
aa
hoho
hoho
.Jœ Rœb Jœ Jœ ˙ Óvovo
hoho
hoho
hoho
hoho ˙
hoho
∑
∑
∑
Œ Rœ Rœ RœRœ Jœ R
œRœ Jœ ‰
uu
aa
uu
aa
hoho
uu
aa
hoho
.Jœ Rœ Rœ Rœ Rœ Rœ Jœ Jœ Jœ ‰vovo
ii
aa
jaja
meTmeT
SiSi
tevtev
riri
aaw
∑
∑
∑
Jœ Jœ œ œ Jœ ˙tevtev
riri
aa
vovo
hoho
.jœ .Jœ Jœ ˙vovo
hoho
hoho
hoho˙ Ó
Jœ RœRœ Jœ ‰ R
œRœ RœRœ Jœ ‰
vovo
ii
aa
hoho
ii
aa
uu
aa
hoho
.Jœ Rœ .Jœ Rœ .Jœ Rœ .Jœ Rœoo
hoho
hoho
ii
vovo
hoho
hoho
ii
∑
Jœ Ó . .
Jœ Ó . .
∑- - - - -
- - -- - -
- - - - -
238
V
V
?
V
V
?
b
b
b
b
b
b
46
46
46
46
44
44
44
44
.œ Jœ œ Œvovo
hoho
hoho
.jœ rœ jœ jœ œ Œvava
haha
hoho
hoho
haha
∑
∑
∑
∑
Jœ Rœn Rœ œ ˙ Jœ Œ .
vovo
ii
aa
hoho
hoho
.jœ Rœ Jœ Jœ ˙ Jœ Œ .vovo
hoho
hoho
hoho
hoho
∑ ˙hoho
∑
∑
∑
Jœ RœRœ Rœ R
œRœ Rœ R
œRœ RœRœ Jœ ‰
vovo
ii
aa
hoho
uu
aa
hoho
ii
aa
uu
aa
hoho
œ Rœ Rœ Rœ Rœ Jœ Jœ Jœ ‰voQvoQ
SigSig
nana
didi
riri
bevbev
riri
aaw
∑
∑
∑
Jœ Jœ œ ˙oo
dede
lala
hoho
jœ œ Jœ ˙oo
hoho
hoho
hoho. .˙ ‰
∑
∑
∑
- - - -- - - -
239
V
V
?
V
V
?
b
b
b
b
b
b
46
46
46
46
44
44
44
44
∑
∑
∑
Jœ RœRœ Rœ RœRœ Rœ RœRœ RœRœ Jœ ‰
vava
uu
aa
hoho
uu
aa
hoho
ii
aa
uu
aa
hoho
.Jœ Rœ .Jœ Rœ .Jœ Rœ .Jœ rœvovo
hoho
hoho
ii
vovo
hoho
hoho
ii
∑
∑
∑
∑
Rœ Rœb RœRœ .Jœ Rœ œ Œ
ii
aa
uu
aQaQ
dede
lala
vovo
.jœ rœ jœ Jœ œ Œvovo
hoho
hoho
hoho
hoho
∑
∑
∑
∑
Jœn Rœ Rœ œ ˙ Ó
vovo
uu
aa
hoho
hoho
.Jœ Rœ Jœ Jœ ˙ Óvovo
hoho
hoho
hoho
hoho
∑ ˙hoho
∑
∑
∑
Jœ RœRœ Rœ RœRœ Rœ RœRœ RœRœ Jœ ‰
vava
uu
aa
hoho
uu
aa
hoho
ii
aa
uu
aa
hoho
Jœ Jœ Jœ Jœ Jœ Jœ Jœ ‰ee
ii
vivi
nana
mimi
sisi
dadaw
∑
∑
∑
Jœ Jœ Jœ Jœ ˙momo
nana
didi
rere
hoho
.jœ .Jœ Jœ ˙oo
hoho
hoho
hoho˙ Jœ Œ .
- -
- - -- - -
- -
240
V
V
?
V
V
?
b
b
b
b
b
b
46
46
46
46
44
44
44
44
Jœ RœRœ Rœ RœRœ Rœ RœRœ RœRœ Jœ ‰
vovo
ii
aa
hoho
uu
aa
hoho
ii
aa
uu
aa
hoho
.Jœ Rœ .Jœ Rœ .Jœrœ .Jœ Rœ
vovo
hoho
hoho
ii
vovo
hoho
hoho
ii
∑
.œ ‰ Ó
.œ ‰ Ó
∑
.œ Jœ œ Œvovo
hoho
hoho
.jœ rœ jœ jœ œ Œvava
haha
hoho
ii
dada
∑
∑
∑
∑
Jœ Rœn Rœ œ ˙
vovo
ii
aa
hoho
hoho
.jœ Rœb Jœ Jœ ˙oo
hoho
hoho
hoho
hoho
∑ ˙hoho
∑
∑
∑
Jœ RœRœ Rœ RœRœ Rœ RœRœ RœRœ Jœ ‰
vovo
ii
aa
hoho
uu
aa
hoho
ii
aa
uu
aa
hoho
œ Rœ Rœ Rœ Rœ Jœ Jœ Jœrœ rœ
voQvoQ
gargar
sese
vava
nana
qvriqvri
vivi
aa
vovo
dadaw
∑
∑
∑
Jœ Jœ œ ˙oo
dede
lala
hoho
jœ œ Jœ ˙oo
hoho
hoho
hoho. .˙ ‰
∑
∑
∑
- - - - - -- - - - - -
241
V
V
?
V
V
?
b
b
b
b
b
b
46
46
46
46
44
44
44
44
œ Ó .
œ Ó .
∑
Jœ RœRœ Rœ RœRœ Rœ RœRœ RœRœ Jœ ‰
vava
uu
aa
hoho
uu
aa
hoho
uu
aa
uu
aa
hoho
.Jœ Rœ .Jœ rœ .Jœ Rœ .Jœ rœvovo
hoho
hoho
ii
vovo
hoho
hoho
ii
∑
∑
∑
∑
Rœ Rœ RœRœ .Jœ Rœb œ Œ
ii
aa
uu
aQaQ
dede
lala
hoho
.jœ rœ jœ Jœ œ Œvovo
hoho
hoho
hoho
hoho
∑
∑
∑
∑
Jœn Rœ Rœ œ ˙
vovo
uu
aa
hoho
hoho
.œ Jœ ˙vovo
hoho
hoho
∑ ˙hoho
∑
∑
∑
Jœ RœRœ Rœ RœRœ Rœ RœRœb RœRœ Jœ ‰
vovo
uu
aa
hoho
uu
aa
hoho
ii
aa
uu
aa
hoho
Jœ Jœ Jœ Jœ Jœ Jœ Jœ ‰vovo
ii
SeSe
uu
gzavgzav
nesnes
dadaw
∑
∑
∑
Jœ Jœ Jœ Jœ ˙mommom
rekrek
lele
bibi
hoho
.jœ .Jœ Jœ ˙oo
hoho
hoho
hoho. .˙ ‰
- - -
- - -- - -
- - -
242
V
V
?
V
V
?
b
b
b
b
b
b
46
46
46
46
44
44
44
44
46
46
46
46
œ Jœ Jœ JœJœ JœJœ
vovo
ii
aa
uu
aa
ii
aa
.œ Jœ .œ ‰aa
haha
hoho
∑
.œ ‰ Ó
.œ ‰ Ó
∑
Moderato A108
Jœ Jœ Jœ Jœ ˙ Óuu
aa
hoho
hoho
hoho
˙ jœ Jœ œ Óoo
ii
dada
∑ ˙hoho
∑
∑
∑
œ Jœ Jœ .œ ‰vovo
uu
aa
hoho
œ Jœ Jœ Jœ Jœ Jœ Jœvovo
ii
dada
gaga
momo
rere
kakaw
∑
∑
∑
poco a poco accelerando
˙ Jœ Rœ Rœ œ
hoho
ii
aa
hoho
œ Œ Jœ Jœ Jœ Jœdada
tyetye
ii
mimi
sisiw
∑
∑
∑
˙ Jœ Œ .hoho
˙ Jœ Œ .hoho
∑
Jœ Jœ JœJœ JœJœ JœJœ
uu
aa
uu
aa
uu
aa
uu
aa
.œ Jœ ˙aa
haha
hoho
∑
- - - - -- - - - -
243
V
V
?
V
V
?
b
b
b
b
b
b
46
46
46
46
44
44
44
44
46
46
46
46
∑
∑
∑
Jœ Jœ .Jœ Rœ .Jœ Rœ œ Óuu
aa
hoho
hoho
hoho
hoho
hoho
.Jœ Rœrœ rœ jœ .jœ rœ œ Ó
dede
lili
aa
dada
oo
hoho
hoho
∑ ˙hoho
∑
∑
∑
œ Jœ Jœ Jœ Œ .aa
uu
aa
hoho
.œ Jœ Jœ Œ .aa
haha
hohow
∑
∑
∑
Jœ JœJœ Jœ R
œ Rœ Rœ Rœ œvovo
uu
aa
hoho
uu
ruru
aa
hoho
hoho
.˙ œvovo
hoho˙
œ Jœ Jœ JœJœ JœJœ
vovo
uu
aa
ii
aa
uu
aa
.œ Jœ .œ ‰aa
haha
hoho
∑
˙ Jœ Œ .hoho
˙ Jœ Œ .hoho
∑
244
V
V
?
V
V
?
b
b
b
b
b
b
46
46
46
46
44
44
44
44
46
46
46
46
Jœ Jœ .Jœ Rœ ˙ Jœ Œ .ii
aa
hoho
hoho
hoho
hoho
Jœ Jœrœ rœ jœ jœ œ Jœ Jœ Œ .
oo
dede
lili
aa
dada
oo
hoho
hoho
hoho
∑ ˙hoho
∑
∑
∑
œ Jœ Jœ Jœ JœJœ Jœ
vovo
ii
aa
hoho
uu
aa
hoho
.œ Jœ Jœ Jœ Jœ JœoQoQ
dada
davdav
xTixTi
tevrtevr
sasaw
∑
∑
∑
˙ Jœ Rœ Rœ œ
hoho
ii
aa
hoho
jœ Œ . Jœ Jœ Jœ Jœdada
sasa
ZebZeb
nelnel
sasaw
∑
∑
∑
˙ Jœ Œ .hoho
˙ Jœ Œ .hoho
∑
œ Jœ Jœ JœJœ JœJœ
vovo
uu
aa
uu
aa
uu
aa
.œ Jœ ˙aa
haha
hoho
∑
- - - - -- - - - -
245
V
V
?
V
V
?
b
b
b
b
b
b
46
46
46
46
44
44
44
44
46
46
46
46
∑
∑
∑
Jœ Jœ .Jœ Rœ .Jœ Rœ œ Jœ Œ .uu
aa
hoho
hoho
hoho
hoho
hoho
hoho
.Jœ Rœrœ rœ jœ .jœ rœ œ Jœ Œ .
dede
lili
aa
dada
oo
hoho
hoho
hoho
∑ ˙hoho
∑
∑
∑
œ Jœ Jœ Jœ Œ .aa
uu
aa
hoho
.œ Jœ Jœ Œ .aa
haha
hohow
∑
∑
∑
Jœ Jœ Jœ Jœ R
œ Rœ Rœ Rœ œvovo
uu
aa
hoho
uu
ruru
aa
hoho
hoho
.˙ œvovo
hohow
œ Jœ Jœ JœJœ JœJœ
vovo
uu
aa
uu
aa
uu
aa
.œ Jœ ˙aa
haha
hoho
∑
whoho
whoho
∑
246
V
V
?
V
V
?
b
b
b
b
b
b
46
46
46
46
44
44
44
44
46
46
46
46
Jœ Jœ .Jœ Rœ Jœ Jœ œ Jœ Œ .uu
aa
hoho
hoho
hoho
hoho
hoho
hoho
Jœ Jœrœ rœ jœ jœ œ Jœ Jœ Œ .
dede
lili
aa
dada
oo
hoho
hoho
hoho
∑ ˙hoho
∑
∑
∑
œ Jœ Jœ Jœ JœJœ Jœ
aa
uu
aa
hoho
uu
aa
hoho
œ Jœ Jœjœ Jœ Jœ Jœ
vovo
ii
dada
gadgad
momo
mixmix
tataw
∑
∑
∑
˙ Jœ Rœ Rœ œ
hoho
ii
aa
hoho
œ Œ Jœ Jœ Jœ Jœdada
winwin
damdam
davdav
xTixTiw
∑
∑
∑
whoho
whoho
∑
œ Jœ Jœ JœJœ JœJœ
aa
uu
aa
uu
aa
uu
aa
.œ Jœ .œ Jœaa
haha
hoho
hoho
∑
- - - - -- - - - -
247
V
V
?
V
V
?
b
b
b
b
b
b
46
46
46
46
44
44
44
44
∑
∑
∑
Jœ Jœ .Jœ Rœ .Jœ Rœ œ Jœ Œ .uu
aa
hoho
hoho
hoho
hoho
hoho
hoho
Jœ œ œ œ œ jœ jœ jœ œ Jœ Œ .ii
vovo
rere
rara
oo
hoho
hoho
hoho
∑ ˙hoho
∑
∑
∑
œ Jœ Rœ Rœ Jœ Œ .aa
uu
aa
haha
hoho
œ .Jœ Rœ Jœ Jœ Jœ Jœgadgad
momo
dada
gadgad
momo
mixmix
tataw
∑
∑
∑
Jœ Jœ Jœ Jœ .Jœ Rœ œ
vovo
uu
aa
hoho
hoho
dede
lala
jœ Œ . Jœ Jœ Jœ Jœdada
winwin
damdam
davdav
xTixTiw
∑
∑
Ó ˙hehe
whoho
whoho
∑
∑
∑
.˙ Œ
∑
∑
∑- - - - - -
- -- - - -
248
V
V
?
V
V
?
b
b
b
b
b
b
.œ Jœ œ œoo
dede
lala
hoho
˙ Jœ Jœ Jœ Jœvovo
vovo
didi
lolo
.˙ œhehe
hehe
∑
∑
∑
Jœ Jœ Jœ Jœ ˙dede
lili
aa
vovo
dada
Jœ Jœjœ jœ ˙
dede
lili
aa
vovo
dada
Jœ Jœ Jœ Jœ ˙bhehe
vovo
hehe
aa
dada
∑
∑
∑
˙ Óhoho
˙dada
whaha
.Jœ RœJœ Jœ .œb Jœ
aa
uu
aa
hoho
dede
lili
œ œ œ œgadgad
momo
mixmix
tataw
hehe
Allegro A120
∑
∑
.˙ Œ
Jœb Jœ .Jœ Rœ .œ ‰dada
uu
aa
hoho
hoho
Jœ Jœ Jœ Jœ Jœ Jœjœ jœ
gadgad
momo
mixmix
tata
winwin
damdam
davdav
xTixTi.˙ Œ
∑
∑
∑
Jœ Jœ .Jœ Rœ Jœn Jœ Jœ Jœii
ruru
didi
lala
vovo
vovo
didi
lala
.œ jœ .œ Jœaa
baba
dede
lolo
.˙ œhehe
hehe
∑
∑
∑
.Jœ Rœ .Jœ Rœ ˙vovo
didi
lala
vovo
hoho
Jœjœ jœ jœ ˙
oo
vovo
dede
lala
dada
Jœ Jœ Jœ Jœ ˙bhehe
vovo
hehe
aa
dada
- - - - - - - -- - - - - - - -
249
V
V
?
V
V
?
b
b
b
b
b
b
.Jœ RœJœ Jœ .Jœ R
œJœ Jœ
aa
uu
aa
hoho
haha
uu
aa
hoho
œ œ œ œmumu
aa
sasa
ririw
hehe
˙ Óhoho
˙ Ódada
whaha
poco a poco accelerando
.Jœ Rœ Jœ Jœ Jœ Jœ œhaha
uu
aa
hoho
hoho
dede
lala
œ œ jœ jœ Jœjœ
beWbeW
SiSi
sasa
riri
dede
lala.˙ Œ
∑
∑
œ œ .œ ‰
.œ Jœ Jœ Jœ Jœ Jœvovo
dede
lala
vovo
didi
lala
.jœ rœ Jœ œ Jœ Jœ Jœaa
baba
dede
lala
vovo
didi
lolo
.˙ œhehe
hehe
∑
∑
∑
Jœ Jœb Jœ Jœ ˙vovo
didi
lala
vovo
vovo
Jœ Jœ jœ jœ ˙dede
lili
aa
vovo
dada
Jœ Jœb Jœ Jœ ˙hehe
vovo
hehe
aa
dada
∑
∑
∑
˙ Óhoho
˙ Ódada
whaha
.Jœ RœJœ Jœ .Jœ R
œJœ Jœ
QaQa
uu
aa
hoho
haha
uu
aa
hoho
œ œ œ œmumu
aa
sasa
ririw
hehe
- - - - -
- - -
- - - - -
- - -
250
V
V
?
V
V
?
b
b
b
b
b
b
∑
∑
.˙ Œ
.Jœ Rœ Jœ Jœ JœJœ Jœ Jœ
haha
uu
aa
hoho
ii
aa
haha
hoho
Jœ Jœjœ jœ Jœ Jœ
jœ jœmumu
aa
sasa
riri
beWbeW
SiSi
sasa
riri.˙ Œ
∑
∑
∑
œ œ Jœ Jœ Jœ Jœhoho
dede
lala
hoho
didi
lala
œ Œ ˙dada
hoho
.˙ œhehe
hehe
∑
∑
∑
.Jœ Rœ .Jœ Rœ ˙hoho
uu
aa
hoho
hoho
.Jœrœ jœ jœ ˙
oo
vovo
dede
lala
dada
Jœ Jœ Jœ Jœ ˙bhehe
vovo
hehe
aa
dada
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœ
uu
ruru
aa
hoho
uu
ruru
aa
hoho
˙ Jœ Jœ Jœ JœoQoQ
meme
vivi
gogo
rerew
hehe
˙ Óhoho
˙ Ódada
whaha
Jœ Jœ Jœ Jœ .œ Jœuu
ruru
aa
hoho
dede
lala
œ œ œ œ œwinwin
damdam
tata
xixiw
∑
∑
.˙ Œ
- - - - -
- - - - -
- - - - -
- - - - -
251
V
V
?
V
V
?
b
b
b
b
b
b
.œ Jœ Jœ Jœ Jœ Jœhoho
ii
vovo
dede
lili
aa
˙ Jœ Jœ Jœ Jœvovo
vovo
didi
lolo
.˙ œhehe
hehe
∑
∑
∑
Jœ Jœ Jœ Jœ ˙vovo
didi
lala
vovo
dada
Jœ Jœjœ Jœ ˙
dede
lili
aa
vovo
dada
Jœ Jœ Jœ Jœ ˙bhehe
vovo
hehe
aa
dada
∑
∑
∑
˙ Óhoho
˙ Ódada
whaha
.Jœ RœJœ Jœ .œb Jœ
QaQa
uu
aa
hoho
dede
lili
œ œ œ œmeme
vivi
gogo
rerew
hehe
∑
∑
.˙ Œ
.Jœb Rœ .Jœ Rœ œ Œaa
uu
aa
hoho
hoho
.Jœ Rœjœ jœ Jœ Jœ
jœ jœmeme
vivi
gogo
rere
winwin
damdam
tata
xixiw
∑
∑
∑
Jœ Jœ Jœ Jœ Jœn Jœ Jœ Jœii
ruru
didi
lala
vovo
vovo
didi
lala
.œ jœ œ œaa
baba
dede
lolo
.˙ œhehe
hehe
∑
∑
∑
.Jœ Rœ Jœ Jœ ˙vovo
didi
lala
vovo
vovo
.Jœrœ jœ jœ ˙
hoho
vovo
dede
lala
dada
Jœ Jœ Jœ Jœ ˙bhehe
vovo
hehe
aa
dada
- - - - - - - -- - - - - - - -
252
V
V
?
V
V
?
b
b
b
b
b
b
.Jœ Rœ Jœ Jœ .Jœ Rœ Jœ Jœaa
uu
aa
hoho
aa
uu
aa
hoho
.œ Jœ Jœ Jœ Jœ Jœee
ii
mimi
vyevvyev
xexe
liliw
hehe
˙ Óhoho
˙ Ódada
whaha
.Jœ Rœ Jœ Jœ Jœ Jœ Jœ Jœaa
uu
aa
hoho
hoho
dede
lili
aa
œ œ œ œavav
CaCa
riri
qeqew
∑
∑
.˙ Œ
.˙ Jœ Jœhoho
didi
lala
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœmivmiv
yevyev
yveyve
laslas
dada
vuvu
riri
gege
.˙ œhehe
hehe
∑
∑
∑
Jœ JœJœ Jœ ˙
hoho
uu
aa
hoho
hoho
Jœjœ jœ jœ ˙
dede
lili
aa
vovo
dada
Jœ Jœ Jœ Jœ ˙bhehe
vovo
hehe
aa
dada
∑
∑
∑
- - - - - - - - - -- - - - - - - - - -
253
V
V
?
V
V
?
b
b
b
b
b
b
˙ Óhoho
˙ Ódada
whaha
.Jœ Rœ Jœ Jœ .Jœ Rœ Jœ JœQaQa
uu
aa
hoho
haha
uu
aa
hoho
œ œ œ œmivmiv
yevyev
xexe
liliw
hehe
∑
∑
.˙ Œ
.Jœ Rœ Jœ Jœ Jœ Jœ Jœ Jœhaha
uu
aa
hoho
uu
aa
hoho
hoho
Jœ Jœjœ jœ jœ jœ jœ Jœ
mivmiv
yevyev
xexe
lili
avav
CaCa
riri
qeqew
∑
∑
∑
œ œ rœJœ Jœ Jœ Jœ
hoho
dede
ii
aa
hoho
didi
lala
œ Œ ˙dada
hoho
.˙ œhehe
hehe
∑
∑
∑
.Jœ Rœ .Jœ Rœ ˙hoho
uu
aa
hoho
hoho
.Jœrœ jœ jœ ˙
hoho
vovo
dede
lala
dada
Jœ Jœ Jœ Jœ ˙bhehe
vovo
hehe
aa
dada
- - - - - - -- - - - - - -
254
V
V
?
V
V
?
b
b
b
b
b
b
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœ
uu
ruru
aa
hoho
uu
ruru
aa
hoho
œ œ œ œii
ovov
dede
lala. .˙ ‰
hehe
˙ Óhoho
˙ Ódada
˙ Óhaha
Allegro vivace A160
.œ Jœ ˙hoho
hoho
hoho
.œ jœ ˙dede
lala
dada
.œ Jœ ˙bhehe
aa
vava
∑
∑
∑
˙ Óhoho
˙ Ódada
˙ Óhaha
.Jœ RœJœ Jœ .Jœ R
œJœ Jœ
haha
uu
aa
hoho
haha
uu
aa
hoho
œ œ .œ Jœii
ovov
dede
lolo. .˙ ‰
hehe
poco a poco accelerando
∑
∑
∑
.œ Jœ ˙hoho
hoho
hoho
.œ jœ ˙dede
lala
dada
.œ Jœ ˙bhehe
aa
vava
Jœ Jœ JœJœ Jœ J
œJœ Jœ
ii
aa
uu
aa
hoho
uu
aa
hoho
œ œ œ œii
ovov
dede
lala. .˙ ‰
hehe
˙ Óhoho
˙ Ódada
˙ Óhaha
.œ Jœ ˙hoho
hoho
hoho
.œ jœ ˙dede
lala
dada
.œ Jœ ˙bhehe
aa
vava
∑
∑
∑
255
V
V
?
V
V
?
b
b
b
b
b
b
˙ Óhoho
˙ Ódada
˙ Óhaha
.Jœ Rœ Jœ Jœ Jœ Jœ Jœ Jœ
haha
uu
aa
hoho
uu
ruru
aa
hoho
œ œ .œ Jœii
ovov
dede
lolo. .˙ ‰
hehe
∑
∑
∑
.œ Jœ ˙hoho
hoho
hoho
.œ jœ ˙dede
lala
dada
.œ Jœ ˙bhehe
aa
vava
Jœ Jœ JœJœ Jœ J
œJœ Jœ
ii
aa
uu
aa
hoho
uu
aa
hoho
œ œ œ œii
ovov
dede
lala. .˙ ‰
hehe
˙ Óhoho
˙ Ódada
˙ Óhaha
Presto A180
.œ Jœ ˙hoho
hoho
hoho
.œ jœ ˙dede
lala
dada
.œ Jœ ˙bhehe
aa
vava
∑
∑
∑
˙ Óhoho
˙ Ódada
˙ Óhaha
Jœ Jœ JœJœ Jœ J
œJœ Jœ
ii
aa
uu
aa
hoho
uu
aa
hoho
œ œ .œ Jœii
ovov
dede
lolo. .˙ ‰
hehe
poco a poco accelerando
∑
∑
∑
.œ Jœ ˙hoho
hoho
hoho
.œ jœ ˙dede
lala
dada
.œ Jœ ˙bhehe
aa
vava
256
V
V
?
V
V
?
b
b
b
b
b
b
Jœ Jœ JœJœ Jœ J
œJœ Jœ
ii
aa
uu
aa
hoho
uu
aa
hoho
œ œ œ œii
ovov
dede
lala. .˙ ‰
hehe
˙ Óhoho
˙ Ódada
˙ Óhaha
Prestissimo A200
.œ Jœ ˙hoho
hoho
hoho
.œ jœ ˙dede
lala
dada
.œ Jœ ˙bhehe
aa
vava
∑
∑
∑
˙ Óhoho
˙ Ódada
˙ Óhaha
Jœ Jœ JœJœ Jœ J
œJœ Jœ
ii
aa
uu
aa
hoho
uu
aa
hoho
œ œ .œ Jœii
ovov
dede
lolo. .˙ ‰
hehe
poco a poco accelerando
∑
∑
∑
.œ Jœ ˙hoho
hoho
hoho
.œ jœ ˙dede
lala
dada
.œ Jœ ˙bhehe
aa
vava
Jœ Jœ JœJœ Jœ J
œJœ Jœ
ii
aa
uu
aa
hoho
uu
aa
hoho
œ œ œ œii
ovov
dede
lala. .˙ ‰
hehe
˙ Óhoho
˙ Ódada
˙ Óhaha
.œ Jœ ˙hoho
hoho
hoho
.œ jœ ˙dede
lala
dada
.œ Jœ ˙bhehe
aa
vava
∑
∑
∑
257
V
V
?
V
V
?
b
b
b
b
b
b
˙ Óhoho
˙ Ódada
˙ Óhaha
Jœ Jœ JœJœ Jœ J
œJœ Jœ
ii
aa
uu
aa
hoho
uu
aa
hoho
œ œ œ œii
ovov
dede
lolo. .˙ ‰
hehe
∑
∑
∑
.œ Jœ ˙hoho
hoho
hoho
.œ jœ ˙dede
lala
dada
.œ Jœ ˙bhehe
aa
vava
. .˙ Jœhehe
uu
œ œ œ œii
ovov
dede
lala.˙ Œ
hehe
˙ Óhoho
˙ Ódada
˙ Óhaha
Moderato A112
∑
˙ Ódada
∑
.˙ Jœ ‰hehe
uu
œ œ œ œii
ovov
dede
lala.˙ Œ
hehe
poco a poco accelerando
. .˙ Jœhehe
uu
œ œ œ œii
ovov
dede
lala.˙ Œ
hehe
∑
˙ Ódada
∑
∑
˙ Ódada
∑
.˙ Jœ ‰hehe
uu
œ œ œ œii
ovov
dede
lala.˙ Œ
hehe
258
V
V
?
V
V
?
b
b
b
b
b
b
.˙ Jœ ‰hehe
uu
œ œ œ œii
ovov
dede
lala
.˙ Œhehe
∑
˙ Ódada
∑
∑
˙ Ódada
∑
.˙ Jœ ‰hehe
uu
œ œ œ œii
ovov
nana
nana
œ œ œ œii
ovov
nana
nana
.˙ Œhehe
.˙ Jœ ‰hehe
uu
œ œ œ œii
ovov
nana
nana
œ œ œ œii
ovov
nana
nana
.˙ Œhehe
∑
˙ Ódada
Jœ Ó . .haha
∑
˙ Ódada
Jœ Ó . .haha
.˙ Jœ ‰hehe
uu
œ œ œ œii
ovov
nana
nana
œ œ œ œii
ovov
nana
nana
.˙ Œhehe
.˙ Jœ ‰hehe
uu
œ œ œ œii
ovov
nana
nana
œ œ œ œii
ovov
nana
nana
.˙ Œhehe
∑
˙ Ódada
Jœ Ó . .haha
Allegro vivace A160
∑
˙ Ódada
Jœ Ó . .haha
.˙ Jœ ‰hehe
uu
œ œ œ œii
ovov
nana
nana
œ œ œ œii
ovov
nana
nana
.˙ Œhehe
259
V
V
?
V
V
?
b
b
b
b
b
b
. .˙ Jœhehe
uu
œ œ œ œii
ovov
nana
nana
œ œ œ œii
ovov
nana
nana
.˙ Œhehe
∑
˙ Ódada
Jœ Ó . .haha
∑
˙ Ódada
Jœ Ó . .haha
.˙ Jœ ‰hehe
uu
œ œ œ œii
ovov
nana
nana
œ œ œ œii
ovov
nana
nana
.˙ Œhehe
.˙ Jœ ‰hehe
uu
œ œ œ œii
ovov
dede
lala
.˙ Œhehe
∑
˙ Ódada
Jœ Ó . .haha
∑
˙ Ódada
∑
.˙ Jœ ‰hehe
uu
œ œ œ œii
ovov
dede
lala
.˙ Œhehe
.˙ Jœ ‰hehe
uu
œ œ œ œii
ovov
dede
lala
.˙ Œhehe
∑
˙ Ódada
∑
∑
˙ Ódada
∑
.˙ Jœ ‰hehe
uu
œ œ œ œii
ovov
dede
lala
.˙ Œhehe
260
V
V
?
V
V
?
b
b
b
b
b
b
.˙ Jœ ‰hehe
uu
œ œ œ œii
ovov
dede
lala
.˙ Œhehe
∑
˙ Ódada
∑
Presto A180
∑
˙ Ódada
∑
.˙ Jœ ‰hehe
uu
œ œ œ œii
ovov
dede
lala
.˙ Œhehe
. .˙ Jœhehe
uu
œ œ œ œii
ovov
dede
lala
.˙ Œhehe
∑
˙ Ódada
∑
∑
˙ Ódada
∑
.˙ Jœ ‰hehe
uu
œ œ œ œii
ovov
dede
lala
.˙ Œhehe
.˙ Jœ ‰hehe
uu
œ œ œ œii
ovov
nana
nana
œ œ œ œii
ovov
nana
nana
.˙ Œhehe
∑
˙ Ódada
∑
∑
˙ Ódada
Jœ Ó . .haha
.˙ Jœ ‰hehe
uu
œ œ œ œii
ovov
nana
nana
œ œ œ œii
ovov
nana
nana
.˙ Œhehe
261
V
V
?
V
V
?
b
b
b
b
b
b
.˙ Jœ ‰hehe
uu
œ œ œ œii
ovov
nana
nana
œ œ œ œii
ovov
nana
nana
.˙ Œhehe
∑
˙ Ódada
Jœ Ó . .haha
∑
˙ Ódada
Jœ Ó . .haha
.˙ Jœ ‰hehe
uu
œ œ œ œii
ovov
nana
nana
œ œ œ œii
ovov
nana
nana
.˙ Œhehe
.˙ Jœ ‰hehe
uu
œ œ œ œii
ovov
nana
nana
œ œ œ œii
ovov
nana
nana
.˙ Œhehe
∑
˙ Ódada
Jœ Ó . .haha
Prestissimo A200
∑
˙ Ódada
Jœ Ó . .haha
.˙ Jœ ‰hehe
uu
œ œ œ œii
ovov
nana
nana
œ œ œ œii
ovov
nana
nana
.˙ Œhehe
. .˙ Jœhehe
uu
œ œ œ œii
ovov
nana
nana
œ œ œ œii
ovov
nana
nana
.˙ Œhehe
∑
˙ Ódada
Jœ Ó . .haha
∑
˙ Ódada
Jœ Ó . .haha
.˙ Jœ ‰hehe
uu
œ œ œ œii
ovov
nana
nana
œ œ œ œii
ovov
nana
nana
.˙ Œhehe
262
V
V
?
V
V
?
b
b
b
b
b
b
42
42
42
42
.˙ Jœ ‰hehe
uu
œ œ œ œii
ovov
nana
nana.˙ Œ
hehe
∑
˙ Ódada
Jœ Ó . .haha
∑
˙ Ódada
∑
.˙ Jœ ‰hehe
uu
œ œ œ œii
ovov
nana
nana
œ œ œ œii
ovov
nana
nana
.˙ Œhehe
.˙ Jœ ‰hehe
uu
œ œ œ œii
ovov
dede
lala.˙ Œ
hehe
∑
˙ Ódada
Jœ Ó . .haha
∑
˙ Ódada
∑
.˙ Jœ ‰hehe
uu
œ œ œ œii
ovov
dede
lala.˙ Œ
hehe
.˙ Jœ ‰hehe
uu
œ œ œ œii
ovov
dede
lala.˙ Œ
hehe
∑
˙ Ódada
∑
∑
˙ Ódada
∑
.˙ Jœ ‰hehe
uu
œ œ œ œii
ovov
dede
lala.˙ Œ
hehe
263
V
V
?
V
V
?
b
b
b
b
b
b
42
42
42
42
œ œii
oo
œ œii
oo˙
hehe
∑
œ Œdada
∑
Allegro A140
œ Œ
œ Œ
œ Œ
œ œii
oo
œ œii
oo˙
hehe
œ œii
oo
œ œii
oo˙
hehe
œ Œ
œ Œ
œ Œ
molto accelerando al fine - A160 DF A220
œ Œ
œ Œ
œ Œ
œ œii
oo
œ œii
oo˙
hehe
œ œii
oo
œ œii
oo˙
hehe
œ Œ
œ Œ
œ Œ
œ Œ
œ Œ
œ Œ
œ œii
oo
œ œii
oo˙
hehe
œ œii
oo
œ œii
oo˙
hehe
œ Œ
œ Œ
œ Œ
œ Œ
œ Œ
œ Œ
œ œii
oo
œ œii
oo˙
hehe
œ œii
oo
œ œii
oo˙
hehe
œ Œ
œ Œ
œ Œ
œ Œ
œ Œ
œ Œ
œ œii
oo
œ œii
oo˙
hehe
œ œii
oo
œ œii
oo˙
hehe
œ Œ
œ Œ
œ Œ
œ Œ
œ Œ
œ Œ
œ œii
oo
œ œii
oo˙
hehe
œ œii
oo
œ œii
oo˙
hehe
œ Œ
œ Œ
œ Œ
œ Œ
œ Œheheœ Œ
œ œii
oo
œ œii
oo˙
hehe
œ œii
oo
œ œii
oo˙
hehe
œ Œ
œ Œ
œ Œ
œ Œ
œ Œheheœ Œ
œ œii
oo
œ œii
oo˙
hehe
264
V
V
?
V
V
?
b
b
b
b
b
b
œ œii
oo
œ œii
oo˙
hehe
œ Œ
œ Œheheœ Œ
œ Œ
œ Œheheœ Œ
œ œii
oo
œ œii
oo˙
hehe
œ œii
oo
œ œii
oo˙
hehe
œ Œ
œ Œheheœ Œ
œ Œ
œ Œheheœ Œ
œ œii
oo
œ œii
oo˙
hehe
œ œii
oo
œ œii
oo˙
hehe
œ Œ
œ Œheheœ Œ
œ Œ
œ Œ
œ Œ
œ œii
oo
œ œii
oo˙
hehe
œ œii
oo
œ œiii
ooo˙
hehe
œ Œ
œ Œ
œ Œ
œ Œ
œ Œ
œ Œ
œ œii
oo
œ œii
oo˙
hehe
œ œii
oo
œ œii
oo˙
hehe
œ Œ
œ Œ
œ Œ
œ Œhehe
œ Œheheœ Œ
œ œii
oo
œ œii
oo˙
hehe
œ œii
oo
œ œii
oo˙
he.he.
œ Œhehe
œ Œheheœ Œ
.œ ‰hehe
.œ ‰hehe˙
˙he.he.
˙he.he.˙he.he.
˙he.he.
˙he.he.˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
265
V
V
?
### # #
# # # # #
# # # # #
43
43
43
44
44
44
87
87
87
44
44
44
42
42
42
44
44
44
∑
Rœ Rœ Jœ .Jœ rœ œe
e
le
le
sa
sa
o
o
ha
ha
∑
Andante A80
∑
Rœ Rœ Jœ Jœ rœ Rœ œ Œe
e
le
le
sa
sa
o
o
ha
ha
∑
Ó œ œsa
sa
ha
ha
œ œ œ Jœ JœQe
Qe
le
le
sa
sa
ha
ha
o
o
Œ .˙o
o
Adagio A67 poco a poco accelerando al A100
.œ .Jœ Rœ Jœ Jœi
i
e
e
le
le
œ ‰ .Jœ Rœ Jœjœ
ha
ha
vo
vo
i
i
e
e
le
le
.œ ˙
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sa
sa
ho
ho
œ œ œ œQe
Qe
le
le
sa
sa
ho
ho
˙ œ œvo
vo
ho
ho
ho
ho
œ œ œ œQe
Qe
le
le
sa
sa
ho.
ho.
œ œ œ œQe
Qe
le
le
sa
sa
ho.
ho.
˙ œ œvo
vo
ho
ho
ho.
ho.
w
w
w
w
w
w
- - - - - - - - - - - -
- - - - - - - - - - - -
- - - - - -- - - - - -
- - - - - -- - - - - -
I choir I choir I choir II choirII choir II choir
I choir I choir I choirII choir II choir II choir
271
V
V
?
?
V
V
?
?
b
b
b
b
b
b
b
b
44
44
44
44
44
44
44
44
45
45
45
45
45
45
45
45
44
44
44
44
44
44
44
44
45
45
45
45
45
45
45
45
44
44
44
44
44
44
44
44
∑
.œ Jœ ˙vo
vo
hoQ
hoQ
da
da
∑
∑
∑
∑
∑
∑
Adagio A67
∑
∑
∑
∑
∑
Jœ œ Jœ ˙vo
vo
ho
ho
hoQ
hoQ
da
da
∑
∑
∑
Jœ Jœ Rœ Rœ œ .œ œ Jœ œ œ .œvo
vo
ho
ho
i
i
a
a
vo
vo
ho
ho
hoQ
hoQ
da
da
∑
∑
∑
∑
∑
∑
∑
Œ . œb Jœ Œvo
vo
ha
ha.œ Œ .œhe
he
he
he.œ Œ .œhe
he
he
he
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ Jœ Rœb Rœ Rœ Rœ œjœ œ
vo
vo
ho
ho
i
i
a
a
ho
ho
ho
ho
heQ
heQ
da
da
he
he
∑
∑
∑
∑
∑
∑
∑
œ .œb Rœ ≈ ÓhoQ
hoQ
da
da˙ ‰ . ˙ R¿he
he
he
he
a
a˙ ‰ . ˙ R¿he
he
he
he
a
a
~~~
~~~
9. CoCxaTura@@@
Chochkhatura
I choir
II choir
guria
Guria
272
V
V
?
?
V
V
?
?
b
b
b
b
b
b
b
b
44
44
44
44
44
44
44
44
42
42
42
42
42
42
42
42
83
83
83
83
83
83
83
83
44
44
44
44
44
44
44
44
Ó ˙vo
vo
œ Rœ Rœ Rœ Rœ Jœ Jœ Jœ JœQe
Qe
ri
ri
ra
ra
da
da
a
a
ri
ri
de
de
la
la
∑
∑
∑
∑
∑
∑
˙bho
ho
˙bho
ho
∑
∑
∑
∑
∑
∑
J¿ Œa
a
J¿ Œa
a .œhe
he.œhe
he
∑
∑
∑
∑
Jœ RœRœ Jœ ‰ R
œRœ RœRœ Jœ ‰
vo
vo
i
i
a
a
ho
ho
i
i
a
a
u
u
a
a
ho
ho
Jœ Jœ Jœ Jœ Jœ Jœ Jœ ‰Qe
Qe
i
i
mo
mo
vi
vi
do
do
da
da
da
daw
w
∑
∑
∑
∑
Jœ Jœ œn ˙o
o
de
de
la
la
ho
ho
Jœ Jœ .Rœ RÔœ Jœ ˙wya
wya
li
li
Sa
Sa
vi
vi
da
da
ho
how
w
∑
∑
∑
∑
- - - - -
- - - - -
273
V
V
?
?
V
V
?
?
b
b
b
b
b
b
b
b
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
Jœ Ó . .
Jœ Ó . .
∑
∑
Ó Rœ Rœ Rœ Rœb œi
i
a
a
u
u
a
a
ho
ho
.Jœ Rœ .Jœ Rœb Jœ œ Jœe
e
ha
ha
ho
ho
i
i
vo
vo
ho
ho
ho
ho
∑
∑
∑
∑
∑
∑
Rœ Rœb RœRœ Jœ Jœ Jœ Œ .
i
i
a
a
u
u
a
a
ho
ho
ho
ho
ho
ho
.œ Jœ œ Œho
ho
ho
ho
ho
ho
∑
∑
∑
∑
∑
∑
Jœb Rœ Rœ œ ˙
vo
vo
i
i
a
a
ho
ho
ho
ho
Jœb Rœ Rœ œ ˙vo
vo
ho
ho
ho
ho
ho
ho
ho
ho
∑
∑
∑
∑
∑
∑
J¿ Œ .
J¿ Œ .
˙he
he˙he
he
∑
∑
∑
∑
Rœ Rœb RœRœ Jœ ‰ Jœ R
œRœ Rœ RœRœ Rœ
i
i
a
a
u
u
a
a
ho
ho
vo
vo
i
i
a
a
ho
ho
u
u
a
a
ho
ho
Jœ Jœ Jœ Jœ Jœ Jœ Jœ ‰Qe
Qe
i
i
mo
mo
vi
vi
do
do
da
da
da
daw
w
∑
∑
∑
∑
Rœ Rœn RœRœ RœRœ Jœ ˙
i
i
a
a
u
u
a
a
i
i
a
a
ho
ho
ho
ho
Jœ Jœ Jœ Rœ Rœ ˙wya
wya
li
li
Sa
Sa
vi
vi
da
da
ho
ho˙ J¿ Œ .
˙ J¿ Œ .
~~- - - - -
- - - - -
274
V
V
?
?
V
V
?
?
b
b
b
b
b
b
b
b
87
87
87
87
87
87
87
87
44
44
44
44
44
44
44
44
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
Jœ RœRœ Jœ ‰ R
œRœ RœRœ œ
vo
vo
i
i
a
a
ho
ho
i
i
a
a
u
u
a
a
ho
ho
Jœ Jœ .œ œ œ œ œe
e
ha
ha
ho
ho
ho
ho
ho
ho
∑
∑
.œ ‰ Ó
.œ ‰ Ó
∑
∑
.œ Jœ Jœ Œho
ho
ha
ha
ho
ho
.œ Jœ Jœ Œvo
vo
ho
ho
ho
ho
∑
∑
∑
∑
∑
∑
Jœb Rœ Rœ œ ˙
ho
ho
i
i
a
a
ho
ho
ho
ho
.jœb Rœ Jœ Jœ ˙ba
a
ri
ri
de
de
la
la
ho
ho
∑
∑
∑
∑
∑
∑
∑
∑
˙he
he˙he
he
∑
∑
∑
∑
Jœ RœRœ Jœ ‰ R
œRœ RœRœ Jœ ‰
Qa
Qa
i
i
a
a
ho
ho
i
i
a
a
u
u
a
a
ho
ho
Jœ Jœ Jœ Jœ Jœ Jœ Jœ ‰Qe
Qe
i
i
mas
mas
mo
mo
qon
qon
da
da
da
daw
w
∑
∑
∑
∑
Jœ Jœ œ ˙o
o
de
de
la
la
ho
ho
Jœ Jœ Rœ Rœ Jœ ˙gve
gve
li
li
Sa
Sa
vi
vi
da
da
ho
ho.˙ Œ
.˙ Œ
∑
∑
∑
∑
~~~
~~~- - - - -
- - - - -
275
V
V
?
?
V
V
?
?
b
b
b
b
b
b
b
b
87
87
87
87
87
87
87
87
44
44
44
44
44
44
44
44
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
œ Ó .
œ Ó .
∑
∑
Rœ Rœ RœRœ Rœ RœRœ Rœ RœRœ RœRœ œ
i
i
a
a
u
u
a
a
ho
ho
u
u
a
a
ho
ho
i
i
a
a
u
u
a
a
ho
ho
.Jœ Rœ .Jœ Rœ Jœ œ Jœe
e
ha
ha
ho
ho
i
i
vo
vo
ho
ho
ho
ho
∑
∑
∑
∑
∑
∑
Rœ Rœ RœRœ Jœ Jœ œ ‰
i
i
a
a
u
u
a
a
ho
ho
ho
ho
ho
ho
.œ Jœ œ ‰ho
ho
ho
ho
ho
ho
∑
∑
∑
∑
∑
∑
Jœb Rœ Rœ œ ˙
vo
vo
i
i
a
a
ho
ho
ho
ho
Jœb œ œ œ ˙vo
vo
ho
ho
ho
ho
ho
ho
∑
∑
∑
∑
∑
∑
J¿ Œ .ho
ho
J¿ Œ .ho
ho˙he
he˙he
he
∑
∑
∑
∑
Rœ Rœb RœRœ .Jœ ≈ R
œRœ RœRœ Jœ ‰
i
i
a
a
u
u
a
a
ho
ho
i
i
a
a
u
u
a
a
ho
ho
œ Jœ Jœ Jœ Jœ Jœ ‰QeQ
QeQ
mas
mas
mo
mo
qon
qon
da
da
da
daw
w
∑
∑
∑
∑
Jœ Rœ Rœ Jœ Jœ ˙
vo
vo
u
u
a
a
ha
ha
ho
ho
ho
ho
Jœ Jœ Jœ Rœ Rœ ˙gve
gve
li
li
Sa
Sa
vi
vi
da
da
ho
ho˙ J¿ Œ .
˙ J¿ Œ .
- - - - -
- -- - -
276
V
V
?
?
V
V
?
?
b
b
b
b
b
b
b
b
87
87
87
87
87
87
87
87
44
44
44
44
44
44
44
44
83
83
83
83
83
83
83
83
44
44
44
44
44
44
44
44
Jœ RœRœ Jœ ‰ R
œRœ RœRœ œ
vo
vo
i
i
a
a
ho
ho
i
i
a
a
u
u
a
a
ho
ho
Jœ Jœ .œ œ œ œ œe
e
ha
ha
ho
ho
ho
ho
ho
ho
∑
∑
.œ ‰ Ó
.œ ‰ Ó
∑
∑
.œ Jœ Jœ Œho
ho
ha
ha
ho
ho
.œ Jœ Jœ Œho
ho
ho
ho
ho
ho
∑
∑
∑
∑
∑
∑
Jœb Rœ Rœ œ ˙
vo
vo
i
i
a
a
ho
ho
ho
ho
.jœb Rœ Jœ Jœ ˙ba
a
ri
ri
ra
ra
da
da
ho
ho
∑
∑
∑
∑
∑
∑
∑
∑
.œhe
he.œhe
he
∑
∑
∑
∑
Jœ RœRœ Jœ ‰ R
œRœ RœRœ Jœ ‰
vo
vo
i
i
a
a
ho
ho
i
i
a
a
i
i
a
a
ho
ho
Jœ Jœ Jœ Jœ Jœ Jœ Jœ ‰Qe
Qe
i
i
gad
gad
vu
vu
de
de
qi
qi
da
daw
w
∑
∑
∑
∑
Jœ Jœ œ ˙o
o
de
de
la
la
ho
ho
Jœ Jœ Jœ Jœ ˙kod
kod
mi
mi
sa
sa
so
so
ho
how
w
∑
∑
∑
∑
~~~
~~~- - - - - -
- - - - - -
277
V
V
?
?
V
V
?
?
b
b
b
b
b
b
b
b
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
Jœ Ó . .
Jœ Ó . .
∑
∑
Jœ RœRœ Rœ RœRœ Rœ RœRœ RœRœ œ
vo
vo
i
i
a
a
ho
ho
u
u
a
a
ho
ho
i
i
a
a
u
u
a
a
ho
ho
.Jœ Rœ .Jœ Rœ Jœ œ Jœe
e
ha
ha
ho
ho
i
i
vo
vo
ho
ho
ho
ho
∑
∑
∑
∑
∑
∑
Rœ Rœ RœRœ Jœ Jœ Jœ Œ .
i
i
a
a
u
u
a
a
ho
ho
ho
ho
ho
ho
.œ Jœ œ Œho
ho
ho
ho
ho
ho
∑
∑
∑
∑
∑
∑
Jœb Rœ Rœ œ ˙
vo
vo
i
i
a
a
ha
ha
ho
ho
Jœb œ œ œ ˙vo
vo
ho
ho
ho
ho
ho
ho
∑
∑
∑
∑
∑
∑
Jœ Œ .
Jœ Œ .
˙he
he˙he
he
∑
∑
∑
∑
Jœb RœRœ .Jœ ≈ Jœ R
œRœ Rœ RœRœ Rœ
vo
vo
i
i
a
a
ho
ho
vo
vo
i
i
a
a
ho
ho
u
u
a
a
ho
ho
.Jœ ≈ .Jœ Rœ Jœ Jœ Jœ ‰Qe
Qe
gad
gad
vu
vu
de
de
qi
qi
da
daw
w
∑
∑
∑
∑
Rœ Rœ Rœ Rœ Jœ Jœ ˙
i
i
a
a
u
u
a
a
ho
ho
ho
ho
ho
ho
Jœ Jœ Jœ Rœ Rœ ˙kod
kod
mi
mi
sa
sa
so
so
da
da
ho
ho˙ J¿ Œ .
˙ J¿ Œ .
- - - - - -
- - - -- -
278
V
V
?
?
V
V
?
?
b
b
b
b
b
b
b
b
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
Jœ Jœ JœJœ Jœ R
œ Rœ Jœ Jœi
i
a
a
u
u
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
œ œ œ ŒQe
Qe
ha
ha
ha
ha
∑
∑
œ Ó .
œ Ó .
∑
∑
Andante A100
Jœ Jœ Jœ Jœ ˙i
i
a
a
ho
ho
ho
ho
ho
ho
˙ jœ Jœ Jœn JœQe
Qe
da
da
ri
ri
rav
rav
∑
∑
∑
∑
∑
∑
poco a poco accelerando
Jœ Œ .ho
ho
jœ Œ .da
da˙he
he˙he
he
∑
∑
∑
∑
œ Jœ Jœ .œ ‰Qa
Qa
i
i
a
a
ho
ho
.œb ‰ Jœ Jœ Jœ jœheQ
heQ
ga
ga
mov
mov
de
de
vi
viw
w
∑
∑
∑
∑
˙ Jœ Rœ Rœ œ
ho
ho
i
i
a
a
ho
ho
.œ ‰ Jœ Jœ Jœ Jœda
da
Su
Su
bis
bis
wve
wve
ri
riw
w
∑
∑
∑
∑
- - - - -
- - - - -
279
V
V
?
?
V
V
?
?
b
b
b
b
b
b
b
b
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
who
ho
who
ho
∑
∑
œ Jœn Jœ Jœ Rœ Rœ Jœ Jœ
ho
ho
i
i
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
œ œ ˙Qe
Qe
ha
ha
ho
ho
∑
∑
∑
∑
∑
∑
Jœn Jœ Jœ Jœ .œ Jœi
i
a
a
ho
ho
ho
ho
de
de
lo
lo
œ œ Jœ Jœ Jœb JœheQ
heQ
da
da
ha
ha
ri
ri
ra
ra
i
i
∑
∑
∑
∑
∑
∑
œ Œda
da
.œ ‰da
da˙he
he˙he
he
∑
∑
∑
∑
œ Jœb Jœ Jœ Œ .Qa
Qa
i
i
a
a
ho
ho
˙ Jœ Jœ Jœ jœQeQ
QeQ
ga
ga
mov
mov
de
de
vi
viw
w
∑
∑
∑
∑
Jœ Jœ Jœ Jœ Jœ Jœ œi
i
a
a
u
u
a
a
ho
ho
de
de
la
la
.œ ‰ Jœ Jœ Jœ Jœda
da
Su
Su
bis
bis
wve
wve
ri
riw
w
- - - - -
- - - - -
280
V
V
?
?
V
V
?
?
b
b
b
b
b
b
b
b
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
Jœ Jœ JœJœ JœJœ JœJœ
i
i
a
a
i
i
a
a
i
i
a
a
i
i
a
a
œ ˙ jœ ‰Qe
Qe
ha
ha
∑
∑
who
ho
who
ho
∑
∑
Moderato A116
Jœ Jœ .Jœ Rœ ˙i
i
a
a
ho
ho
ho
ho
ho
ho
˙ jœ Jœ Jœ JœQe
Qe
da
da
ri
ri
rav
rav
∑
∑
Jœ Ó . .
Jœ Ó . .
∑
∑
poco a poco accelerando
Jœ Œ .ho
ho
jœ Œ .da
da˙he
he˙he
he
∑
∑
∑
∑
œ Jœ Jœ Jœ JœJœ Jœ
Qa
Qa
i
i
a
a
ho
ho
u
u
a
a
ho
ho
œ Œ Jœ Jœ Jœ jœQe
Qe
e
e
vi
vi
yva
yva
ne
new
w
∑
∑
∑
∑
. .˙ Jœho
ho
ha
ha
œ Œ Jœ Jœ Jœ Jœda
da
maR
maR
la
la
dav
dav
de
dew
w
∑
∑
∑
∑
- - - - -
- - - - -
281
V
V
?
?
V
V
?
?
b
b
b
b
b
b
b
b
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
. .˙ ‰ho
ho
. .˙ ‰ho
ho
∑
∑
Jœn Jœ JœJœ Jœ R
œ Rœ Jœ Jœi
i
a
a
u
u
a
a
ho
ho
u
u
ru
ru
a
a
ho
ho
œ œ ˙Qe
Qe
ha
ha
ho
ho
∑
∑
∑
∑
∑
∑
Rœn Rœb Jœ Jœ Jœ .œ Jœi
i
ri
ri
a
a
ho
ho
ho
ho
de
de
lo
lo
œ œ Jœ Jœ Jœ JœheQ
heQ
da
da
ha
ha
ri
ri
ra
ra
i
i
∑
∑
∑
∑
∑
∑
œ Œda
da
.œ ‰da
da˙he
he˙he
he
∑
∑
∑
∑
œ Jœ Jœ Jœ Œ .Qa
Qa
i
i
a
a
ho
ho
˙ Jœ Jœ Jœ jœheQ
heQ
e
e
vi
vi
yva
yva
ne
new
w
∑
∑
∑
∑
Jœ Jœ Jœ Jœ Jœ Jœ œi
i
a
a
i
i
a
a
ho
ho
de
de
la
la
.œ ‰ Jœ Jœ Jœ Jœda
da
maR
maR
la
la
dav
dav
de
dew
w
- - - - -
- - - - -
282
V
V
?
?
V
V
?
?
b
b
b
b
b
b
b
b
jœ Rœ Rœ .Jœ Rœ Jœ Jœ .Jœ Rœi
i
a
a
v
v
da
da
i
i
av
av
da
da
de
de
la
la
jœ jœ .jœ Rœ Jœjœ rœ Rœ Rœ rœ
i
i
av
av
da
da
i
i
av
av
da
da
di
di
la
la
vo
vo
∑
∑
who
ho
who
ho
∑
∑
Adagio A73 poco a poco accelerando
Jœ Jœ œ œ Œna
na
na
na
sa
sa
da
da
Jœ Jœ œ œ Œna
na
na
na
sa
sa
da
dawhe
he
Jœ Rœ Rœ œ œb Œna
na
na
na
i
i
dav
dav
da
da
Jœ Ó . .
Jœ Ó . .
∑
∑
œ œ Jœ Jœ Jœ jœaQ
aQ
da
da
kod
kod
mi
mi
sa
sa
so
so
œ œ Jœ Jœjœ jœ
aQ
aQ
da
da
kod
kod
mi
mi
sa
sa
so
sow
.Jœ Rœb œ .œ Jœa
a
i
i
da
da
he
he
o
o
∑
∑
∑
∑
Jœ Jœ œ ˙de
de
la
la
vo
vo
ho
ho
jœ jœ œ ˙i
i
a
a
voQ
voQ
da
da˙ Ó
Jœ Jœb œ ˙i
i
a
a
voQ
voQ
he
he
Jœ Jœ .Jœ Rœ Jœ Jœ .Jœ Rœbi
i
av
av
da
da
i
i
av
av
da
da
de
de
lo
lo
Jœ Jœ .Jœ Rœ Jœjœ .Jœ Rœ
i
i
o
o
ho
ho
i
i
av
av
da
da
de
de
lo
lo
∑
Jœ Jœ œ .œ ‰e
e
he
he
he
he
he
he
∑
∑
∑
∑
Jœ Jœ .œ œ œ Œna
na
na
na
sa
sa
da
da
.jœ rœ œ œ Œna
na
ni
ni
na
na
da
dawhe
he
œ œ œb Œa
a
di
di
la
la
∑
∑
∑
∑
œ œ œ œ ˙aQ
aQ
da
da
de
de
œ œ Jœ Jœ jœ jœaQ
aQ
da
da
kod
kod
mi
mi
sa
sa
so
sow
œ œ .œ JœbaQ
aQ
da
da
he
he
o
o
~
~
- -
- - -
- -
- -
- -
- - -
283
V
V
?
?
V
V
?
?
b
b
b
b
b
b
b
b
jœ Rœ Rœ .Jœ Rœb Jœ Jœ .Jœ Rœi
i
a
a
v
v
da
da
i
i
av
av
da
da
de
de
la
la
Jœ Jœ .Jœ Rœ Jœjœ rœ Rœ Jœ
i
i
o
o
ho
ho
i
i
av
av
da
da
ri
ri
ra
ra
∑
Jœ Jœ œ œ Rœ Rœ Jœbe
e
he
he
he
he
ha
ha
ri
ri
ra
ra
Jœ Jœ œ ˙la
la
vo
vo
ho
ho
jœ jœ œ ˙i
i
a
a
voQ
voQ
da
da˙ Ó
.Jœ Rœb .Jœ Rœ ˙i
i
a
a
vo
vo
i
i
he
he
Andante A88 poco a poco accelerando
Jœ Jœ œ œ Œna
na
na
na
sa
sa
da
da
jœ jœ œ œ Œna
na
na
na
da
da
da
dawhe
he
.Jœ Rœb œ œ Œna
na
ni
ni
naQ
naQ
da
da
∑
∑
∑
∑
œ œ Jœ Jœ Jœ jœaQ
aQ
da
da
rom
rom
Sev
Sev
xe
xe
de
de
œ œ Jœ Jœjœ jœ
aQ
aQ
da
da
rom
rom
Sev
Sev
xe
xe
de
dew
œ œ Jœ Jœ Jœ JœbaQ
aQ
da
da
rom
rom
Sev
Sev
xe
xe
de
de
∑
∑
∑
∑
Jœ Jœ œ ˙de
de
la
la
vo
vo
ho
ho
jœ jœ œ ˙i
i
a
a
voQ
voQ
da
da˙ Ó
Jœ Jœb œ ˙i
i
a
a
voQ
voQ
he
he
Jœ Jœ Jœ Jœ Jœ Jœ .Jœ Rœbi
i
av
av
da
da
i
i
av
av
da
da
de
de
lo
lo
Jœ Jœ .Jœ Rœ Jœjœ .Jœ Rœ
i
i
o
o
ho
ho
i
i
av
av
de
de
de
de
lo
lo
∑
Jœ Jœ œ ˙e
e
he
he
he
he
he
he
∑
∑
∑
∑
œ œ œ œ œ ŒhaQ
haQ
da
da
da
da
.jœ rœ œ œ Œna
na
ni
ni
na
na
da
dawhe
he
œ œ œb ŒhaQ
haQ
da
da
ha
ha
∑
∑
∑
∑
œ œ œ œ ˙vaQ
vaQ
da
da
de
de
jœ jœ œ Jœ Jœ jœ jœa
a
i
i
da
da
rom
rom
Sev
Sev
xe
xe
de
dew
Jœ Jœ Jœ Jœ Jœ Jœ Jœb Jœrom
rom
Sev
Sev
xe
xe
de
de
Se
Se
mom
mom
xe
xe
da
da
- -
- -
- -
- -
- - - - -
- -
- -
- -
- -
- - - - -
284
V
V
?
?
V
V
?
?
b
b
b
b
b
b
b
b
Jœ Jœ .Jœ Rœb Jœ Jœ .Jœ Rœi
i
o
o
de
de
li
li
av
av
da
da
de
de
lo
lo
Jœ Jœ .jœ Rœ jœjœ rœ rœ jœ
i
i
o
o
ho
ho
i
i
av
av
da
da
ri
ri
ra
ra
∑
Jœ Jœb œ ˙e
e
he
he
he
he
he
he
Jœ Jœ œ ˙la
la
vo
vo
ho
ho
jœ jœ œ ˙i
i
a
a
voQ
voQ
da
da˙ Ó
Jœ Jœb œ ˙i
i
a
a
voQ
voQ
he
he
Andante A100 poco a poco accelerando
.Jœ Rœ œ œ œ Œna
na
ni
ni
nav
nav
da
da
jœ jœ œ œ Œna
na
na
na
sav
sav
da
dawhe
he
œ œ .œb ‰de
de
lav
lav
da
da
∑
∑
∑
∑
œ œ Jœ Jœ Jœ jœaQ
aQ
da
da
Se
Se
mom
mom
xe
xe
da
da
œ œ Jœ Jœjœ jœ
aQ
aQ
da
da
Se
Se
mom
mom
xe
xe
da
daw
.Jœ Rœb œ .œ jœa
a
i
i
da
da
de
de
la
la
∑
∑
∑
∑
Jœ Jœ œ ˙de
de
la
la
vo
vo
ho
ho
jœ jœ œ ˙i
i
a
a
voQ
voQ
da
da˙ Ó
Jœ Jœb œ ˙e
e
he
he
he
he
he
he
Jœ Jœ .Jœ Rœ Jœ Jœ .Jœ Rœbi
i
av
av
da
da
i
i
av
av
da
da
de
de
lo
lo
Jœ Jœ .Jœ Rœ Jœjœ .Jœ Rœ
i
i
o
o
ho
ho
i
i
av
av
da
da
de
de
lo
lo
∑
Jœ Jœ œ ˙e
e
he
he
he
he
he
he
∑
∑
∑
∑
œ œ œ œ œ ŒhaQ
haQ
da
da
da
da
.jœ rœ œ œ Œna
na
ni
ni
na
na
da
dawhe
he
œ œ œb Œhan
han
di
di
la
la
- - -
- - -
- - -
- - -
285
V
V
?
?
V
V
?
?
b
b
b
b
b
b
b
b
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
42
42
42
42
42
42
42
42
∑
∑
∑
∑
œ œ œ œ ˙aQ
aQ
da
da
de
de
œ œ Jœ Jœ jœ jœaQ
aQ
da
da
Se
Se
mom
mom
xe
xe
da
daw
œ œ Jœ Jœ Jœb JœaQ
aQ
da
da
Se
Se
mom
mom
xe
xe
da
da
.œ Jœ ˙he
he
i
i
da
da
.œ Jœ ˙he
he
i
i
da
da
∑
˙ ˙heQ
heQ
da
da
.œ Jœ ˙la
la
da
da
jœ jœ jœ jœ ˙Se
Se
mom
mom
xe
xe
da
da
da
da˙ Ó
Jœ Jœb Jœ Jœ ˙Se
Se
mom
mom
xe
xe
da
da
da
da
œ Jœ ‰ Jœ Jœ jœ jœda
da
ge
ge
vi
vi
ka
ka
ri
ri
.jœ Rœ Jœ ‰jœ jœ jœ jœb
ha
ha
i
i
da
da
ge
ge
vi
vi
ka
ka
ri
riwhe
he
.Jœ Rœ Jœb ‰ Jœ Jœ Jœ Jœi
i
da
da
ge
ge
vi
vi
ka
ka
ri
ri
∑
∑
∑
∑
Adagio A73 poco a poco accelerando
œ œheQ
heQ
da
da
jœ jœ œi
i
av
av
da
da.œ R¿ ≈u
u
œ œheQ
heQ
da
da
œ œheQ
heQ
da
da
jœ Jœ œi
i
av
av
da
da
∑
œ œheQ
heQ
da
da
œ Ó .ha
ha
œ Ó .ha
ha
∑
œ Ó .ha
ha
œ Jœ ‰ Jœ Jœjœ jœ
haQ
haQ
da
da
ge
ge
vi
vi
ka
ka
ri
ri
.jœ Rœ Jœ ‰jœ jœ jœ jœb
ha
ha
i
i
da
da
ge
ge
vi
vi
ka
ka
ri
riwhe
he
.Jœ Rœ Jœb ‰ Jœ Jœ Jœ Jœi
i
da
da
ge
ge
vi
vi
ka
ka
ri
ri
- - - - - -
- - -
- - -
- - -
- - -
- - - - - -
- - -
- - -
- - -
- - -
- - -
- - -
- - - - - - - - -
- - - - - - - - -
286
V
V
?
?
V
V
?
?
b
b
b
b
b
b
b
b
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
œ Jœ ‰heQ
heQ
da
da
.jœ Rœ Jœ ‰i
i
av
av
da
da
∑
œ œheQ
heQ
da
da
œ œheQ
heQ
da
da
jœ jœ œi
i
av
av
da
da.œ ‰
œ œheQ
heQ
da
da
œ Jœ ‰ Jœ Jœ jœ jœhaQ
haQ
da
da
ji
ji
bes
bes
xe
xe
li
li
.jœ Rœ Jœ ‰jœ jœ jœ jœb
ha
ha
i
i
da
da
ji
ji
bes
bes
xe
xe
li
liwhe
he
.Jœ Rœ Jœb ‰ Jœ Jœ Jœ Jœi
i
da
da
ji
ji
bes
bes
xe
xe
li
li
œ Ó .ha
ha
œ Ó .ha
ha
∑
œ Ó .ha
ha
œ œheQ
heQ
da
da
jœ jœ œi
i
av
av
da
da.œ R¿ ≈u
u
œ œheQ
heQ
da
da
œ œheQ
heQ
da
da
jœ Jœ œi
i
av
av
da
da
∑
œ œheQ
heQ
da
da
œ Ó .ha
ha
œ Ó .ha
ha
∑
œ Ó .ha
ha
œ Jœ ‰ Jœ Jœjœ jœ
haQ
haQ
da
da
ji
ji
bes
bes
xe
xe
li
li
.jœ Rœ Jœ ‰jœ jœ jœ jœb
ha
ha
i
i
da
da
ji
ji
bes
bes
xe
xe
li
liwhe
he
.Jœ Rœ Jœb ‰ Jœ Jœ Jœ Jœi
i
da
da
ji
ji
bes
bes
xe
xe
li
li
œ Jœ ‰heQ
heQ
da
da
jœ Jœ Jœ ‰i
i
av
av
da
da
∑
œ œheQ
heQ
da
da
œ œheQ
heQ
da
da
jœ jœ œi
i
av
av
da
da.œ ‰
œ œheQ
heQ
da
da
- -
- -
- -
- -
- -
- -
- -
- -
- -
- -
- -
- -
287
V
V
?
?
V
V
?
?
b
b
b
b
b
b
b
b
44
44
44
44
44
44
44
44
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
42
42
42
42
42
42
42
42
œ Jœ ‰ Jœ Jœ jœ jœhaQ
haQ
da
da
a
a
mo
mo
vi
vi
Re
Re
.jœ Rœ Jœ ‰jœ jœ jœ jœb
ha
ha
i
i
da
da
a
a
mo
mo
vi
vi
Re
Rewhe
he
.Jœ Rœ Jœb ‰ Jœ Jœ Jœ Jœi
i
da
da
a
a
mo
mo
vi
vi
Re
Re
œ Ó .ha
ha
œ Ó .ha
ha
∑
œ Ó .ha
ha
Andante A100 poco a poco accelerando
œ œheQ
heQ
da
da
jœ jœ œi
i
av
av
da
da.œ R¿ ≈u
u
œ œheQ
heQ
da
da
œ œheQ
heQ
da
da
jœ Jœ œi
i
av
av
da
da
∑
œ œheQ
heQ
da
da
œ Ó .ha
ha
œ Ó .ha
ha
∑
œ Ó .ha
ha
œ Jœ ‰ Jœ Jœjœ jœ
haQ
haQ
da
da
a
a
mo
mo
vi
vi
Re
Re
.jœ Rœ Jœ ‰jœ jœ jœ jœb
ha
ha
i
i
da
da
a
a
mo
mo
vi
vi
Re
Rewhe
he
.Jœ Rœ Jœb ‰ Jœ Jœ Jœ Jœi
i
da
da
a
a
mo
mo
vi
vi
Re
Re
œ Jœ ‰heQ
heQ
da
da
jœ Jœ Jœ ‰i
i
av
av
da
da
∑
œ œheQ
heQ
da
da
œ œheQ
heQ
da
da
jœ jœ œi
i
av
av
da
da.œ ‰
œ œheQ
heQ
da
da
œ Jœ ‰ Jœ Jœ jœ jœhaQ
haQ
da
da
ja
ja
yva
yva
Sa
Sa
vi
vi
.jœ Rœ Jœ ‰jœ jœ jœ jœb
ha
ha
i
i
da
da
ja
ja
yva
yva
Sa
Sa
vi
viwhe
he
.Jœ Rœ Jœb ‰ Jœ Jœ Jœ Jœi
i
da
da
ja
ja
yva
yva
Sa
Sa
vi
vi
œ Ó .ha
ha
œ Ó .ha
ha
∑
œ Ó .ha
ha
- - -
- - -
- -
- - -
- - -
- -
- - -
- - -
- -
- - - - -
- - - - -
- - - - -
- - -
- - -
- - -
288
V
V
?
?
V
V
?
?
b
b
b
b
b
b
b
b
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
42
42
42
42
42
42
42
42
43
43
43
43
43
43
43
43
œ œheQ
heQ
da
da
jœ jœ œi
i
av
av
da
da.œ R¿ ≈u
u
œ œheQ
heQ
da
da
œ œheQ
heQ
da
da
jœ Jœ œi
i
av
av
da
da
∑
œ œheQ
heQ
da
da
œ Ó .ha
ha
œ Ó .ha
ha
∑
œ Ó .ha
ha
œ Jœ ‰ Jœ Jœjœ jœ
haQ
haQ
da
da
ja
ja
yva
yva
Sa
Sa
vi
vi
.jœ Rœ Jœ ‰jœ jœ jœ jœb
ha
ha
i
i
da
da
ja
ja
yva
yva
Sa
Sa
vi
viwhe
he
.Jœ Rœ Jœb ‰ Jœ Jœ Jœ Jœi
i
da
da
ja
ja
yva
yva
Sa
Sa
vi
vi
œ œheQ
heQ
da
da
œ œheQ
heQ
da
da
∑
œ œheQ
heQ
da
da
œ œheQ
heQ
da
da
jœ jœ œi
i
av
av
da
da.œ ‰
œ œheQ
heQ
da
da
Jœ Jœ Jœ jœjœ
[Sua
[Sua
gav
gav
We
We
ri]
ri]
he
he
jœ jœ jœ jœ jœ ‰[Sua
[Sua
gav
gav
We
We
ri]
ri]
he
he˙ .Jœ R¿
he
he
u
u
Jœ Jœ Jœ Jœb Jœ ‰[Sua
[Sua
gav
gav
We
We
ri]
ri]
he
he
jœ Œ . jœ Jœha
ha
heQ
heQ
da
da
jœ Œ . jœ jœha
ha
heQ
heQ
da
da
∑
Jœ Œ . Jœ Jœha
ha
heQ
heQ
da
da
Adagio A73 poco a poco accelerando
Ó jœ JœheQ
heQ
da
da
Ó jœ jœheQ
heQ
da
da
∑
Ó Jœ JœheQ
heQ
da
da
Jœ Jœ Jœ jœjœ ‰
[Sua
[Sua
gav
gav
We
We
ri]
ri]
he
he
jœ jœ jœ jœb jœ ‰[Sua
[Sua
gav
gav
We
We
ri]
ri]
he
he˙ .Jœ R¿
he
he
u
u
Jœ Jœ Jœ Jœb Jœ ‰[Sua
[Sua
gav
gav
We
We
ri]
ri]
he
he
Jœ Jœ Jœ jœjœ
gve
gve
li
li
Sa
Sa
vi
vi
he
he
jœ jœ jœ jœ jœ ‰gve
gve
li
li
Sa
Sa
vi
vi
he
he˙ .Jœ R¿
he
he
u
u
Jœ Jœ Jœ Jœb Jœ ‰gve
gve
li
li
Sa
Sa
vi
vi
he
he
Ó jœ JœheQ
heQ
da
da
Ó jœ jœheQ
heQ
da
da
∑
Ó Jœ JœheQ
heQ
da
da
- -
- -
- -
- -
- -
- - - -
- -
- -
- - - -
- -
- - - -
- - - -
- - - -
- - - -
- - - -
- - - -
289
V
V
?
?
V
V
?
?
b
b
b
b
b
b
b
b
Ó jœ JœheQ
heQ
da
da
Ó jœ jœheQ
heQ
da
da
∑
Ó Jœ JœheQ
heQ
da
da
Jœ Jœ Jœ jœjœ ‰
gve
gve
li
li
Sa
Sa
vi
vi
he
he
jœ jœ jœ jœb jœ ‰gve
gve
li
li
Sa
Sa
vi
vi
he
he˙ .Jœ R¿
he
he
u
u
Jœ Jœ Jœ Jœb Jœ ‰gve
gve
li
li
Sa
Sa
vi
vi
he
he
Jœ Jœ Jœ jœjœ
gad
gad
mo
mo
vi
vi
da
da
he
he
jœ jœ jœ jœ jœ ‰gad
gad
mo
mo
vi
vi
da
da
he
he˙ .Jœ R¿
he
he
u
u
Jœ Jœ Jœ Jœb Jœ ‰gad
gad
mo
mo
vi
vi
da
da
he
he
Ó jœ JœheQ
heQ
da
da
Ó jœ jœheQ
heQ
da
da
∑
Ó Jœ JœheQ
heQ
da
da
Ó jœ JœheQ
heQ
da
da
Ó jœ jœheQ
heQ
da
da
∑
Ó Jœ JœheQ
heQ
da
da
Jœ Jœ Jœ jœjœ ‰
gad
gad
mo
mo
vi
vi
da
da
he
he
jœ jœ jœ jœb jœ ‰gad
gad
mo
mo
vi
vi
da
da
he
he˙ .Jœ R¿
he
he
u
u
Jœ Jœ Jœ Jœb Jœ ‰gad
gad
mo
mo
vi
vi
da
da
he
he
Jœ Jœ Jœ jœjœ
si
si
sxli
sxli
Sa
Sa
vi
vi
he
he
jœ jœ jœ jœ jœ ‰si
si
sxli
sxli
Sa
Sa
vi
vi
he
he˙ Jœ R¿ ≈he
he
u
u
Jœ Jœ Jœ Jœb Jœ ‰si
si
sxli
sxli
Sa
Sa
vi
vi
he
he
Ó jœ JœheQ
heQ
da
da
Ó jœ jœheQ
heQ
da
da
∑
Ó Jœ JœheQ
heQ
da
da
Ó jœ JœheQ
heQ
da
da
Ó jœ jœheQ
heQ
da
da
∑
Ó Jœ JœheQ
heQ
da
da
Jœ Jœ Jœ jœjœ ‰
si
si
sxli
sxli
Sa
Sa
vi
vi
he
he
jœ jœ jœ jœb jœ ‰si
si
sxli
sxli
Sa
Sa
vi
vi
he
he˙ Jœ R¿ ≈he
he
u
u
Jœ Jœ Jœ Jœb Jœ ‰si
si
sxli
sxli
Sa
Sa
vi
vi
he
he
Jœ Jœ Jœ jœjœ ‰
a
a
di
di
le
le
i
i
he
he
jœ jœ jœb jœ jœ ‰a
a
di
di
le
le
i
i
he
he˙ .Jœ R¿
he
he
u
u
Jœ Jœ Jœb Jœ Jœ ‰a
a
di
di
le
le
i
i
he
he
Ó jœ JœheQ
heQ
da
da
Ó jœ jœheQ
heQ
da
da
∑
Ó Jœ JœheQ
heQ
da
da
Moderato A108
- -
- - -
- - -
- -
- -
- - - - -
- - - - - - -
- - - - -
- - - - - - -
- - - - -
- - - - -
- - - - -
- - - - - - -
- - - - - - -
- - - - - - -
290
V
V
?
?
V
V
?
?
b
b
b
b
b
b
b
b
Ó jœ JœheQ
heQ
da
da
Ó jœ jœheQ
heQ
da
da
∑
Ó Jœ JœheQ
heQ
da
da
jœ jœ œ jœ ‰a
a
di
di
leQ
leQ
he
he
jœ jœ œb jœ ‰a
a
di
di
leQ
leQ
he
he˙ Jœ R¿ ≈he
he
u
u
Jœ Jœ œb Jœ ‰a
a
di
di
leQ
leQ
he
he
poco a poco accelerando
.Jœ Rœ œjœ ‰
a
a
di
di
leQ
leQ
he
he
.jœ rœ œb jœ ‰a
a
di
di
leQ
leQ
he
he˙ Jœ R¿ ≈he
he
u
u
.jœ Rœ œb Jœ ‰a
a
di
di
leQ
leQ
he
he
Ó jœ JœheQ
heQ
da
da
Ó jœ jœheQ
heQ
da
da
∑
Ó Jœ JœheQ
heQ
da
da
Ó jœ JœheQ
heQ
da
da
Ó jœ jœheQ
heQ
da
da
∑
Ó Jœ JœheQ
heQ
da
da
.jœ rœ œ jœ ‰a
a
di
di
leQ
leQ
he
he
.jœ rœ œb jœ ‰a
a
di
di
leQ
leQ
he
he˙ Jœ R¿ ≈he
he
u
u
.Jœ Rœ œb Jœ ‰a
a
di
di
leQ
leQ
he
he
.Jœ Rœ œjœ ‰
a
a
di
di
leQ
leQ
he
he
.jœ rœ œb jœ ‰a
a
di
di
leQ
leQ
he
he˙ Jœ R¿ ≈he
he
u
u
.Jœ Rœ œb Jœ ‰a
a
di
di
leQ
leQ
he
he
Ó jœ JœheQ
heQ
da
da
Ó jœ jœheQ
heQ
da
da
∑
Ó Jœ JœheQ
heQ
da
da
Ó jœ JœheQ
heQ
da
da
Ó jœ jœheQ
heQ
da
da
∑
Ó Jœ JœheQ
heQ
da
da
.jœ rœ œ jœ ‰a
a
di
di
leQ
leQ
he
he
.jœ rœ œb jœ ‰a
a
di
di
leQ
leQ
he
he˙ Jœ R¿ ≈he
he
u
u
.Jœ Rœ œb Jœ ‰a
a
di
di
leQ
leQ
he
he
.Jœ Rœ œjœ ‰
a
a
di
di
leQ
leQ
he
he
.jœ rœ œb jœ ‰a
a
di
di
leQ
leQ
he
he˙ Jœ R¿ ≈he
he
u
u
.Jœ Rœ œb Jœ ‰a
a
di
di
leQ
leQ
he
he
Ó jœ JœheQ
heQ
da
da
Ó jœ jœheQ
heQ
da
da
∑
Ó Jœ JœheQ
heQ
da
da
291
V
V
?
?
V
V
?
?
b
b
b
b
b
b
b
b
89
89
89
89
89
89
89
89
Ó jœ JœheQ
heQ
da
da
Ó jœ jœheQ
heQ
da
da
∑
Ó Jœ JœheQ
heQ
da
da
.jœ rœ œ jœ ‰a
a
di
di
leQ
leQ
he
he
.jœ rœ œb jœ ‰a
a
di
di
leQ
leQ
he
he˙ Jœ R¿ ≈he
he
u
u
.Jœ Rœ œb Jœ ‰a
a
di
di
leQ
leQ
he
he
.Jœ Rœ œjœ ‰
a
a
di
di
leQ
leQ
he
he
.jœ rœ œb jœ ‰a
a
di
di
leQ
leQ
he
he˙ Jœ R¿ ≈he
he
u
u
.Jœ Rœ œb Jœ ‰a
a
di
di
leQ
leQ
he
he
Ó jœ JœheQ
heQ
da
da
Ó jœ jœheQ
heQ
da
da
∑
Ó Jœ JœheQ
heQ
da
da
Ó jœ JœheQ
heQ
da
da
Ó jœ jœheQ
heQ
da
da
∑
Ó Jœ JœheQ
heQ
da
da
.jœ rœ œ jœ ‰a
a
di
di
leQ
leQ
he
he
.jœ rœ œb jœ ‰a
a
di
di
leQ
leQ
he
he˙ Jœ R¿ ≈he
he
u
u
.Jœ Rœ œb Jœ ‰a
a
di
di
leQ
leQ
he
he
.Jœ Rœ œjœ ‰
a
a
di
di
leQ
leQ
he
he
.jœ rœ œb jœ ‰a
a
di
di
leQ
leQ
he
he˙ Jœ R¿ ≈he
he
u
u
.Jœ Rœ œb Jœ ‰a
a
di
di
leQ
leQ
he
he
Ó jœ JœheQ
heQ
da
da
Ó jœ jœheQ
heQ
da
da
∑
Ó Jœ JœheQ
heQ
da
da
∑
∑
∑
∑
.Jœ Rœ œ Œa
a
di
di
leQ
leQ
jœ ‰ Óhe
he
˙ J¿ ‰he
he
u
u
Jœ ‰ Óhe.
he
292
V
V
?
?
V
V
?
?
b
b
b
b
b
b
b
b
89
89
89
89
89
89
89
89
85
85
85
85
85
85
85
85
89
89
89
89
89
89
89
89
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
46
46
46
46
46
46
46
46
∑
œ .rœ rKœ jœ rœ rœb Jœ .œde
de
li
li
a
a
vo
vo
ho
ho
ho
ho
∑
∑
∑
∑
∑
∑
Adagio A73
∑
∑
˙ Jœhe
he˙ Jœhe
he
∑
∑
∑
∑
∑
∑
w ‰
w ‰
∑
˙b rœ jœ jœ jœ Jœ .Jœ3
de
de
li
li
a
a
vo
vo
ho
ho
ho
ho
∑
∑
∑
∑
∑
∑
∑
∑
˙he
he˙he
he
∑
.œn œ œ .œ œ jœ ‰he
he
a
a
ha
ha
ha
hawhe
hewhe
he
∑
∑
.˙ Œ
.˙ Œ
293
V
V
?
?
V
V
?
?
b
b
b
b
b
b
b
b
46
46
46
46
46
46
46
46
43
43
43
43
43
43
43
43
89
89
89
89
89
89
89
89
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
Jœ Jœ œ œ Jœ Rœ Rœ ˙di
di
la
la
ho
ho
di
di
la
la
a
a
di
di
lo
lo
Jœ Jœ œ œ Jœ Rœ Rœ ˙vo
vo
hoQ
hoQ
hoQ
hoQ
di
di
la
la
a
a
di
di
lo
lo.w
.w
∑
∑
∑
∑
Jœ ‰ Ó
∑
˙ Œ
˙ Œ
∑
œ rœ .œ œ rœ ‰he
he
e
e
he
he
he
he
Œ ˙he
he
Œ ˙he
he
∑
∑
∑
∑
Jœ Jœ Jœ ‰ Jœ Jœ Rœ Rœ œo
o
de
de
la
la
di
di
la
la
a
a
di
di
lo
lo
Jœ Jœ Jœ ‰ Jœ Jœ Rœ Rœ œvo
vo
de
de
la
la
di
di
la
la
a
a
di
di
lo
low Jœ
w ‰
∑
œ Rœ Rœb œ œ œ .jœ Rœ5
he
he
i
i
e
e
vo
vo
ho
ho.˙he
he
˙ Jœ ‰he
he
Jœ ‰ Ó
Jœ ‰ Ó
˙ Œ
∑
Jœ Jœ ˙rœ Jœ Jœ
di
di
la
la
ho
ho
i
i
a
a
ho
ho
.jœ ≈ Œ Jœ Jœ Jœb Jœho
ho
vo
vo
ho
ho
i
i
o
ow
∑
∑
∑
∑
∑
294
V
V
?
?
V
V
?
?
b
b
b
b
b
b
b
b
87
87
87
87
87
87
87
87
85
85
85
85
85
85
85
85
44
44
44
44
44
44
44
44
.œ ‰
.œ ‰
˙
∑
Jœ .œ Jœ Jœb œi
i
o
o
i
i
a
a
ho
ho
Jœb .œ Rœ Rœ Rœ Rœ .œ œi
i
o
o
i
i
a
a
ho
ho
ho
ho
ho
ho
Œ .˙he
he
Œ .˙he
he
∑
∑
∑
∑
Jœ Rœ Rœ œb Jœ R
œ Rœ œi
i
a
a
ho
ho
i
i
a
a
ho
ho
.œ ‰ jœ jœ Jœb Jœho
ho
vo
vo
ho
ho
hi
hi
o
ow
w
∑
‰ . Rœb œ œ œ .œ œ jœi
i
o
o
ho
ho
ho
ho.˙ Jœhe
he
.˙ ‰he
he
˙
˙ Œ
˙ Œ
Jœ ‰ Ó
Rœ Rœ .Jœ Rœn œdi
di
la
la
ho
ho
ho
ho
ho
ho
Jœ œ œi
i
o
o
ho
ho.œ œ
∑
∑
∑
∑
∑
œ Ó .
œ Ó .
œ Ó .
∑
.Rœ ® RœRœ Rœ RœRœ Rœ RœRœ Jœ Rœ Rœ Jœ
ho
ho
i
i
a
a
ho
ho
u
u
a
a
ho
ho
i
i
a
a
ho
ho
i
i
a
a
ho
ho
Jœb Jœ Rœ Rœjœ Œ Jœ Jœ
i
i
o
o
ho
ho
ho
ho
i
i
o
owhe
hewhe
he
Larghetto A63 poco a poco accelerando
295
V
V
?
?
V
V
?
?
b
b
b
b
b
b
b
b
Rœ ≈ Rœ Rœ Rœ R
œ Rœ Rœ Rœ Rœ Rœ Rœ œ
ho
ho
i
i
a
a
ho
ho
i
i
a
a
ho
ho
i
i
a
a
ha
ha
ho
ho
ho
ho
Jœ Jœ Rœ Rœjœ jœ ‰ Jœ Jœ
i
i
o
o
ri
ri
rav
rav
da
da
i
i
o
owhe
hewhe
he
œ Ó .
œ Ó .
œ Ó .
œ Ó .
œ Ó .
œ Ó .
œ Ó .
œ Ó .
jœ jœ .jœ rœ jœ jœ Jœ Jœe
e
he
he
he
he
a
a
e
e
he
he
i
i
o
o
Jœb Jœ Rœ Rœjœ jœ ‰ Jœ Jœ
i
i
e
e
ri
ri
rav
rav
da
da
i
i
o
o. .˙ R¿ ≈he
he
u
u. .˙ R¿ ≈he
he
u
u
jœ rœ ≈ rœ rœ jœ jœ rœ ≈ Jœ Jœi
i
e
e
a
a
ri
ri
ra
ra
e
e
he
he
i
i
o
o
Jœ Jœ Rœ Rœjœ jœ ‰ Jœ Jœ
i
i
e
e
ri
ri
ra
ra
da
da
i
i
o
owhe
he
Jœ Rœ ≈ Ó .hi
hi
o
o
Jœ Ó . .
Jœ Ó . .
∑
∑
Jœ Ó . .
Jœ Ó . .
∑
∑
jœ .œ jœ jœ Jœ Jœi
i
o
o
e
e
he
he
i
i
o
o
Jœ Jœ Rœ Rœjœ jœ ‰ Jœ Jœ
i
i
o
o
ri
ri
raQ
raQ
da
da
i
i
o
o. .˙ R¿ ≈he
he
u
u
Jœ Rœ ≈ Ó .hi
hi
o
o
296
V
V
?
?
V
V
?
?
b
b
b
b
b
b
b
b
42
42
42
42
42
42
42
42
jœ rœ ≈ rœ rœ jœ jœ rœ ≈ Jœ Jœi
i
o
o
a
a
ri
ri
ra
ra
e
e
he
he
i
i
o
o
Jœb Jœ Rœ Rœ Jœ Jœ ‰ Jœ Jœi
i
o
o
ri
ri
ra
ra
da
da
i
i
o
owhe
he
Jœ Rœ ≈ Ó .hi
hi
o
o
Jœ Ó . .
Jœ Ó . .
∑
∑
Jœ Ó . .
Jœ Ó . .
∑
∑
Rœ Rœ Rœ Rœ .œ Rœ Rœ œ
i
i
a
a
u
u
a
a
ho
ho
i
i
a
a
ho
ho
Jœ Jœ Rœ Rœjœ jœ ‰ Jœn Jœ
i
i
o
o
ho
ho
ho
ho
ho
ho
i
i
o
o. .˙ R¿ ≈he
he
u
u. .˙ R¿ ≈he
he
u
u
Adagio A73
Jœ Rœ Rœ .œ
rœ Jœ œho
ho
i
i
a
a
ho
ho
i
i
a
a
ho
ho
Jœ Jœ Rœ Rœjœ Jœ ‰ Jœ Jœ
i
i
o
o
ri
ri
ra
ra
da
da
i
i
o
owhe
hewhe
he
Jœ Ó . .
Jœ Ó . .
∑
∑
Jœ Ó . .
Jœ Ó . .
∑
∑
Jœ Rœ Rœ .œ
rœ Jœrœ Jœ Jœ
ho
ho
i
i
a
a
ho
ho
i
i
a
a
i
i
a
a
ho
ho
Jœ Jœ Rœ Rœjœ jœ ‰ Jœ Jœ
i
i
o
o
ri
ri
raQ
raQ
da
da
i
i
o
o. .˙ R¿ ≈he
he
u
u. .˙ R¿ ≈he
he
u
u
297
V
V
?
?
V
V
?
?
b
b
b
b
b
b
b
b
42
42
42
42
42
42
42
42
Jœ Rœ ≈ Jœ œ œi
i
o
o
i
i
e
e
Œ Jœ Jœi
i
o
o˙he
he
Jœ Rœ ≈ Œhi
hi
o
o
∑
∑
∑
∑
Larghetto A63 poco a poco accelerando
Jœ Œ .
Jœ Œ .
Jœ Œ .
∑
Jœ Rœ ≈ Jœ Jœi
i
o
o
i
i
o
o
Œ Jœb Jœi
i
o
o.œ RÔœ Rœ®
he
he
u
u
Jœ Rœ ≈ Œhi
hi
o
o
Jœ Rœ ≈ Jœ Jœi
i
o
o
i
i
o
o
Œ Jœ Jœi
i
o
o.œ RÔœ Rœ®
he
he
u
u
Jœ Rœ ≈ Œhi
hi
o
o
∑
∑
∑
∑
∑
∑
Ó
∑
Jœ Rœ ≈ Jœ Jœi
i
o
o
i
i
o
o
Œ Jœb Jœi
i
o
o.œ Rœ ≈he
he
u
u
Jœ Rœ ≈ Œhi
hi
o
o
Jœ Rœ ≈ Jœ Jœi
i
o
o
i
i
o
o
Œ Jœb Jœi
i
o
o. .œ Rœ
he
he
u
u
Jœ Rœ ≈ Œhi
hi
o
o
∑
∑
∑
∑
∑
∑
∑
∑
jœ jœ jœ Jœi
i
o
o
he
he
o
o
Œ Jœ Jœi
i
o
o.œ RÔœ Rœ®
he
he
u
u
Jœ Rœ ≈ Œhi
hi
o
o
jœ jœ jœ jœvoQ
voQ
da
da
de
de
la
la
Œ Jœ Jœi
i
o
o. .œ RÔœ®
he
he
u
u
Jœ Rœ ≈ Œhi
hi
o
o
∑
∑
∑
∑
∑
∑
∑
∑
jœ jœ jœ Jœi
i
a
a
i
i
o
o
Jœ RÔœ ≈ . Jœ Jœ
i
i
a
a
i
i
o
o.œ Rœ ≈he
he
u
u
Jœ Rœ ≈ Œhi
hi
o
o
298
V
V
?
?
V
V
?
?
b
b
b
b
b
b
b
b
Jœ jœjœ Jœ
oQ
oQ
da
da
i
i
o
o
Jœ RÔœ ≈ . Jœ Jœ
i
i
a
a
i
i
o
o. .œ RÔœ®
he
he
u
u
Jœ Rœ ≈ Œhi
hi
o
o
Jœ Œ .
Jœ Œ .
∑
∑
∑
∑
∑
∑
jœ jœ jœ JœoQ
oQ
da
da
i
i
o
o
Œ Jœ Jœi
i
o
o.œ RÔœ Rœ®
he
he
u
u
Jœ Rœ ≈ Œhi
hi
o
o
jœ jœ jœ JœoQ
oQ
da
da
i
i
o
o
Œ .Jœ Rœi
i
o
o. .œ RÔœ®
he
he
u
u
Jœ Rœ ≈ Œhi
hi
o
o
∑
∑
∑
∑
∑
∑
∑
∑
jœ jœ jœ Jœi
i
o
o
i
i
o
o
Œ Jœ Jœi
i
o
o.œ RÔœ Rœ®
he
he
u
u
Jœ Rœ ≈ Œhi
hi
o
o
Jœrœ Jœ œ
ho
ho
i
i
a
a
ho
ho
Œ Jœ Jœi
i
o
o. .œ RÔœ®
he
he
u
u
Jœ Rœ ≈ Œhi
hi
o
o
∑
∑
∑
∑
Andante A88
∑
∑
∑
∑
Jœrœ Jœ œ
ho
ho
i
i
a
a
ho
ho
Œ Jœ Jœi
i
o
o. .œ RÔœ®
he
he u
u
Jœ Rœ ≈ Œhi
hi
o
o
Jœrœ Jœ
rKœ Jœ Jœho
ho
i
i
a
a
i
i
a
a
ho
ho
Œ Jœ Jœi
i
o
o. .œ RÔœ®
he
he
u
u
Jœ Jœ œa
a
ha
ha
ho
ho
∑
∑
∑
∑
∑
Jœ Œ .
∑
∑
Jœrœ Jœ
rKœ Jœ Jœho
ho
i
i
a
a
i
i
a
a
ho
ho
Œ Jœ Jœi
i
o
o. .œ RÔœ®
he
he
u
u
Jœ Rœ ≈ Œhi
hi
o
o
299
V
V
?
?
V
V
?
?
b
b
b
b
b
b
b
b
Jœrœ Jœ œ
ho
ho
ia
ia
a
a
ho
ho
Œ Jœ Jœi
i
o
o. .œ RÔœ®
he
he
u
u
Jœ Rœ ≈ Œhi
hi
o
o
∑
∑
∑
∑
∑
∑
∑
∑
Jœrœ Jœ œ
ho
ho
i
i
a
a
ho
ho
Œ Jœ Jœi
i
o
o.œ RÔœ Rœ®
he
he
u
u
Jœ Rœ ≈ Œhi
hi
o
o
Jœrœ Jœ œ
ho
ho
i
i
a
a
ho
ho
Œ Jœ Jœi
i
o
o. .œ Rœhe
he
u
u
Jœ Jœ Jœ Jœa
a
ha
ha
he
he
a
a
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ Jœ Jœi
i
o
o.œ RÔœ Rœ®
he
he
u
u
Jœ Rœ ≈ Œhi
hi
o
o
Œ Jœ Jœi
i
o
o
Œ Jœ Jœi
i
o
o. .œ RÔœ®
he
he
u
u
Jœ Rœ ≈ Œhi
hi
o
o
∑
∑
∑
∑
∑
∑
∑
∑
Œ jœ Jœi
i
o
o
Œ Jœ Jœi
i
o
o.œ RÔœ Rœ®
he
he
u
u
Jœ Rœ ≈ Œhi
hi
o
o
Œ Jœ Jœi
i
o
o
Œ Jœ Jœi
i
o
o. .œ RÔœ®
he
he
u
u
Jœ Rœ ≈ Œhi
hi
o
o
∑
∑
∑
∑
∑
∑
∑
∑
jœ jœ jœ Jœi
i
o
o
i
i
o
o
Œ Jœ Jœi
i
o
o.œ RÔœ Rœ®
he
he
u
u
Jœ Rœ ≈ Œhi
hi
o
o
300
V
V
?
?
V
V
?
?
b
b
b
b
b
b
b
b
Œ Jœ Jœi
i
o
o
Œ Jœ Jœi
i
o
o. .œ RÔœ®
he
he
u
u
Jœ Rœ ≈ Œhi
hi
o
o
∑
∑
∑
∑
∑
∑
∑
∑
jœ jœ jœ Jœi
i
o
o
i
i
o
o
Œ Jœ Jœi
i
o
o.œ RÔœ Rœ®
he
he
u
u
Jœ Rœ ≈ Œhi
hi
o
o
Jœrœ Jœ
rKœ Jœ Jœho
ho
i
i
a
a
i
i
a
a
ho
ho
Œ Jœ Jœi
i
o
o. .œ RÔœ®
he
he
u
u
Jœ Rœ ≈ Œhi
hi
o
o
∑
∑
∑
∑
∑
∑
∑
∑
Jœrœ Jœ
rKœ Jœ Jœho
ho
i
i
a
a
i
i
a
a
ho
ho
Œ Jœ Jœi
i
o
o.œ RÔœ Rœ®
he
he
u
u
Jœ Rœ ≈ Œhi
hi
o
o
Jœrœ Jœ œ
ho
ho
i
i
a
a
ho
ho
Œ Jœ Jœi
i
o
o. .œ RÔœ®
he
he
u
u
Jœ Rœ ≈ Œhi
hi
o
o
∑
∑
∑
∑
∑
∑
∑
∑
Jœrœ Jœ œ
ho
ho
i
i
a
a
ho
ho
Œ Jœ Jœi
i
o
o.œ RÔœ Rœ®
he
he
u
u
Jœ Rœ ≈ Œhi
hi
o
o
Jœ Rœ ≈ Jœ Jœhi
hi
o
o
hi
hi
o
o
Œ Jœ Jœi
i
o
o. .œ RÔœ®
he
he
u
u
Jœ Rœ ≈ Œhi
hi
o
o
∑
∑
∑
∑
∑
∑
∑
∑
Jœ Rœ ≈ Jœ Jœhi
hi
o
o
hi
hi
o
o
Œ Jœ Jœi
i
o
o.œ RÔœ Rœ®
he
he
u
u
Jœ Rœ ≈ Œhi
hi
o
o
∑
.œ ‰hi
hi .œ ‰he
he.œ ‰he
he
∑
Œ Jœ Jœi
i
o
o
Œ œhe
he
Œ œhe
he
301
V
V
?
?
V
V
?
?
b
b
b
b
b
b
b
b
∑
.œ ‰hi
hi .œ ‰he
he.œ ‰he
he
∑
Jœ ‰ Jœ Jœi
i
o
o
Jœ ‰ œhe
he
Jœ ‰ œhe
he
∑
.œ ‰hi
hi .œ ‰he
he.œ ‰he
he
∑
Jœ ‰ Jœ Jœi
i
o
o
Jœ ‰ œhe
he
Jœ ‰ œhe
he
∑
Jœ œ ‰i
i
o
o.œ ‰he
he.œ ‰he
he
Œ Jœ Jœhi
hi
o
o
Jœ ‰ Jœ Jœi
i
o
o
Jœ ‰ œhe
he
Jœ ‰ œhe
he
Jœ œ ‰hi
hi
o
o
Jœ œ ‰i
i
o
o.œ ‰he
he.œ ‰he
he
Jœ ‰ Jœ Jœhi
hi
o
o
Jœ ‰ Jœ Jœi
i
o
o
Jœ ‰ œhe
he
Jœ ‰ œhe
he
Larghetto A63 molto accelerando al fine - A63 DF A132
Jœ œ ‰hi
hi
o
o
Jœ œ ‰i
i
o
o.œ ‰he
he.œ ‰he
he
œ Jœ Jœhi
hi
o
o
Jœ ‰ Jœ Jœi
i
o
o
Jœ ‰ œhe
he
Jœ ‰ œhe
he
Jœ œ ‰hi
hi
o
o
Jœ œ ‰i
i
o
o.œ ‰he
he.œ ‰he
he
Jœ ‰ Jœ Jœhi
hi
o
o
Jœ ‰ Jœ Jœi
i
o
o
Jœ ‰ œhe
he
Jœ ‰ œhe
he
Jœ œ ‰hi
hi
o
o
Jœ œ ‰i
i
o
o.œ ‰he
he.œ ‰he
he
œ Jœ Jœhi
hi
o
o
Jœ ‰ Jœ Jœi
i
o
o
Jœ ‰ œhe
he
Jœ ‰ œhe
he
Jœ œ ‰hi
hi
o
o
Jœ œ ‰i
i
o
o.œ ‰he
he.œ ‰he
he
Jœ ‰ Jœ Jœhi
hi
o
o
Jœ ‰ Jœ Jœi
i
o
o
Jœ ‰ œhe
he
Jœ ‰ œhe
he
Jœ œ ‰hi
hi
o
o
Jœ œ ‰i
i
o
o.œ ‰he
he.œ ‰he
he
Jœ ‰ Jœ Jœhi
hi
o
o
Jœ ‰ Jœ Jœi
i
o
o
Jœ ‰ œhe
he
Jœ ‰ œhe
he
Jœ œ ‰hi
hi
o
o
Jœ œ ‰i
i
o
o.œ ‰he
he.œ ‰he
he
Jœ ‰ Jœ Jœhi
hi
o
o
Jœ ‰ Jœ Jœi
i
o
o
Jœ ‰ œhe
he
Jœ ‰ œhe
he
302
V
V
?
?
V
V
?
?
b
b
b
b
b
b
b
b
Jœ œ ‰hi
hi
o
o
Jœ œ ‰i
i
o
o.œ ‰he
he.œ ‰he
he
Jœ ‰ Jœ Jœhi
hi
o
o
Jœ ‰ Jœ Jœi
i
o
o
Jœ ‰ œhe
he
Jœ ‰ œhe
he
Jœ œ ‰hi
hi
o
o
Jœ œ ‰i
i
o
o.œ ‰he
he.œ ‰he
he
Jœ ‰ Jœ Jœhi
hi
o
o
Jœ ‰ Jœ Jœi
i
o
o
Jœ ‰ œhe
he
Jœ ‰ œhe
he
Jœ œ ‰hi
hi
o
o
Jœ œ ‰i
i
o
o.œ ‰he
he.œ ‰he
he
Jœ ‰ Jœ Jœhi
hi
o
o
Jœ ‰ Jœ Jœi
i
o
o
Jœ ‰ œhe
he
Jœ ‰ œhe
he
Jœ œ ‰hi
hi
o
o
Jœ œ ‰i
i
o
o.œ ‰he
he.œ ‰he
he
Jœ ‰ Jœ Jœhi
hi
o
o
Jœ ‰ Jœ Jœi
i
o
o
Jœ ‰ œhe
he
Jœ ‰ œhe
he
Jœ œ ‰hi
hi
o
o
Jœ œ ‰i
i
o
o.œ ‰he
he.œ ‰he
he
Jœ ‰ Jœ Jœhi
hi
o
o
Jœ ‰ Jœ Jœi
i
o
o
Jœ ‰ œhe
he
Jœ ‰ œhe
he
Jœ œ ‰hi
hi
o
o
Jœ œ ‰i
i
o
o.œ ‰he
he.œ ‰he
he
Jœ ‰ Jœ Jœhi
hi
o
o
Jœ ‰ Jœ Jœi
i
o
o
Jœ ‰ œhe
he
Jœ ‰ œhe
he
Jœ œ ‰hi
hi
o
o
Jœ œ ‰i
i
o
o.œ ‰he
he.œ ‰he
he
Jœ ‰ Jœ Jœhi
hi
o
o
Jœ ‰ Jœ Jœi
i
o
o
Jœ ‰ œhe
he
Jœ ‰ œhe
he
˙he.
he.
Jœ œ ‰i
i
o
o˙he.
he.˙he.
he.
Jœ ‰ Jœ Jœhi
hi
o
o
Jœ ‰ Jœ Jœi
i
o
o
Jœ ‰ œhe.
he.
Jœ ‰ œhe.
he.
˙
˙he.
he.˙
˙
Jœ ‰ œhe.
he.
Jœ ‰ œhe.
he.˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
303
V
V
?
?
V
V
?
?
b
b
b
b
b
b
b
b
819
819
819
819
819
819
819
819
87
87
87
87
87
87
87
87
43
43
43
43
43
43
43
43
45
45
45
45
45
45
45
45
46
46
46
46
46
46
46
46
44
44
44
44
44
44
44
44
46
46
46
46
46
46
46
46
813
813
813
813
813
813
813
813
∑˙ Jœ . .˙ Jœ ˙ Jœ ‰aa
aa
vava
haha
∑
∑
∑
∑
∑
∑
Andante A80
∑
∑
. .˙uouo. .˙uouo
∑
∑
∑
∑
∑˙ Jœ ‰haha.œ Œ .
.œ Œ .
∑
∑
∑
∑
∑
∑
.wuouo .wuouo
∑
∑
∑
∑
∑
∑
œ
œ
∑
Jœ .œ Jœ Jœ ˙ Œha
ha
va
va
ha
ha
∑
∑
∑
∑
∑
∑
∑
∑
whohowhoho
∑
∑
∑
∑
∑w Jœ Œ .ha
haw Jœ Œ .
w Jœ Œ .
∑
∑
∑
∑
∑
∑
˙ woo
hoho˙ w
oo
hoho
10. jiqura@@@@@
Jikura
I choir
II choir
guria
Guria
304
V
V
?
?
V
V
?
?
b
b
b
b
b
b
b
b
813
813
813
813
813
813
813
813
45
45
45
45
45
45
45
45
44
44
44
44
44
44
44
44
43
43
43
43
43
43
43
43
813
813
813
813
813
813
813
813
44
44
44
44
44
44
44
44
∑
.Jœ Rœ Jœ ‰ ˙ Jœ Jœ .œa
a
ha
ha
ha
ha
ho
ho
di
di
e
e
lo
lo
∑
∑
∑
∑
∑
∑
. .˙ Jœ œvo
vo
di
di
da
da
. .˙ œ ‰haQ
haQ
da
da
∑
∑
∑
∑
∑
∑
.Jœ Rœ œ ˙ho
ho
di
di
la
la
ho
ho
.Rœ RÔœ Jœ .Jœ Jœ . .œvo
vo
ri
ri
ra
ra
da
da
haQ
haQ
da
da
∑
∑
∑
∑
∑
∑
∑
∑
.˙uo
uo.˙uo
uo
∑
∑
∑
∑
.Jœ Rœ Jœ Jœ .œ œ Jœ Jœ Jœ Jœvo
vo
de
de
la
la
di
di
la
la
ho
ho
di
di
la
la
ho
ho
di
di
‰ . Jœ Jœ Jœ .Jœ œ œ Jœ Jœ Jœ Jœ3
mSvi
mSvi
do
do
ba
ba
Tu
Tu
ga
ga
mar
mar
jo
jo
ba
ba
de
de
la
law .œ œ
w .œ œ
∑
∑
∑
∑
Andante A100
- - - - -
~~~~~~ ~~~~- - - - -
~~~~~~ ~~~~
305
V
V
?
?
V
V
?
?
b
b
b
b
b
b
b
b
44
44
44
44
44
44
44
44
42
42
42
42
42
42
42
42
43
43
43
43
43
43
43
43
89
89
89
89
89
89
89
89
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
.Jœ Rœ Jœ Jœ Jœ Jœ œla
la
ho
ho
ho
ho
ho
ho
ho
ho
de
de
la
la
Jœ Jœ Jœ Jœ Jœ Jœ œki
ki
dev
dev
ga
ga
da
da
va
va
ba
ba
ha
ha
∑
∑
∑
∑
∑
∑
˙ho
ho
˙ho
ho
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œ Jœ œvo
vo
di
di
la
la
.Jœ Rœ œ œ#va
va
ha
ha
ha
ha
ha
ha
∑
∑
∑
∑
∑
∑
‰ œ Jœ Jœ Rœn Rœ Jœ Jœ .Jœ Rœ3
vo
vo
de
de
la
la
i
i
ru
ru
di
di
la
la
ho
ho
di
di
.œ Jœ .Jœ .œ ≈ho
ho
vo
vo
de
de
la
la
∑
∑
∑
∑
∑
∑
˙ Jœ ‰a
a
.˙ha
ha
∑
∑
~~~ ~~~
~~~~~~~
- - - -
- - - -
306
V
V
?
?
V
V
?
?
b
b
b
b
b
b
b
b
44
44
44
44
44
44
44
44
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
42
42
42
42
42
42
42
42
45
45
45
45
45
45
45
45
∑
∑
∑
∑
˙ .œ ‰vo
vo
ho
ho
.Jœ Rœn .jœ rœ .Jœ .œ ‰3
vo
vo
ri
ri
ra
ra
da
da
da
da
∑
∑
∑
∑
∑
∑
∑
∑
who
howho
ho
∑
∑
∑
∑
∑
.Rœ .Rœ Jœ . .œmSvi
mSvi
do
do
ba
ba
Tu
Tu.˙
.˙
∑
∑
∑
∑
Jœ Jœ Jœ Jœ Jœn Jœ Jœ Jœ
vo
vo
de
de
la
la
ru
ru
di
di
la
la
ho
ho
di
diœ œ Jœ Jœ Jœ jœga
ga
mar
mar
jo
jo
ba
ba
de
de
la
la. .˙ ‰
. .˙ ‰
∑
∑
∑
∑
.Jœ Rœ Jœ Jœ Jœ Jœ œ œ Jœla
la
ho
ho
ho
ho
ho
ho
ho
ho
ho
ho
ho
ho
ho
ho
jœ jœ Jœ Jœ Jœ Jœ œva
va
ha
ha
ha
ha
ha
ha
vo
vo
ho
ho
ho
ho
∑
∑
∑
∑
∑
∑
.œ ‰ho
ho
.œ ‰ho
ho
∑
∑
~~
~~- - - - -
- - - - -
307
V
V
?
?
V
V
?
?
b
b
b
b
b
b
b
b
45
45
45
45
45
45
45
45
44
44
44
44
44
44
44
44
87
87
87
87
87
87
87
87
∑
˙ Jœ rœ rœ jœ jœ œbha
ha
vo
vo
ri
ri
av
av
de
de
la
la
∑
∑
∑
∑
∑
∑
œ ˙ Rœn Rœ Rœ Rœvo
vo
ha
ha
di
di
la
la
ho
ho
di
di
.œ ‰ .jœ rœ Jœn Jœda
da
a
a
ha
ha
ha
ha
ha
ha
∑
∑
∑
∑
∑
∑
. .˙ JœlaQ
laQ
da
da
.˙ Jœ ‰haQ
haQ
da
da
∑
∑
∑
∑
∑
∑
.Jœ Rœ Jœ ˙ Jœho
ho
re
re
ra
ra
ho
ho
.Jœ Rœ Jœ Jœ Jœ .œ ‰4
vo
vo
ri
ri
a
a
da
da
haQ
haQ
da
da
∑
∑
∑
∑
∑
∑
308
V
V
?
?
V
V
?
?
b
b
b
b
b
b
b
b
87
87
87
87
87
87
87
87
46
46
46
46
46
46
46
46
44
44
44
44
44
44
44
44
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
∑
∑
. .˙uo
uo. .˙uo
uo
∑
∑
∑
∑
‰ Rœ Rœ Jœ Jœn ˙ Jœb Jœ Jœ Jœnvo
vo
de
de
la
la
di
di
la
la
di
di
la
la
ho
ho
di
di
.Rœ .Rœ Jœ .Jœ œ œ Jœ Jœ Jœ ‰vi
vi
yav
yav
qa
qa
li
li
az
az
na
na
u
u
ri
ri
da
daw Jœ Œ .
w Jœ Œ .
∑
∑
∑
∑
.Jœ Rœ Jœ Jœ Jœ Jœ Rœ Rœ Rœ Rœla
la
ho
ho
no
no
no
no
no
no
ho
ho
i
i
vo
vo
de
de
la
la
Jœ Jœ Jœ Jœ Jœ Jœ œgle
gle
xis
xis
Svil
Svil
ma
ma
mi
mi
Txu
Txu
a
a
∑
∑
∑
∑
∑
∑
.œ ‰he
he
.œ ‰ho
ho
∑
∑
∑
∑
∑
∑
- - - - - - - - - -
- - - - - - - - - -~ ~~ ~
309
V
V
?
?
V
V
?
?
b
b
b
b
b
b
b
b
44
44
44
44
44
44
44
44
46
46
46
46
46
46
46
46
∑
∑
∑
∑
.Jœ Rœ Jœ Jœ Jœ Jœ œi
i
ru
ru
di
di
lu
lu
di
di
la
la
ho
ho
œ Jœ Jœ Jœ .œvo
vo
ho
ho
ho
ho
ho
ho
ho
ho
∑
∑
∑
∑
∑
∑
.Jœ Rœ Jœ Jœ .œ Rœ Rœdi
di
la
la
vo
vo
di
di
la
la
di
di
la
la
Jœ Jœ Jœ Jœ .œ Œ4
vo
vo
de
de
la
la
ha
ha
∑
∑
∑
∑
∑
∑
.Jœ Rœ Jœ Jœ .œ ‰ho
ho
ho
ho
ho
ho
ho
ho
ho
ho
.Jœ Rœjœ Jœ .œ ‰
vo
vo
de
de
lav
lav
da
da
da
da
∑
∑
∑
∑
∑
∑
∑
∑
who
howho
ho
~~~~~
310
V
V
?
?
V
V
?
?
b
b
b
b
b
b
b
b
46
46
46
46
46
46
46
46
44
44
44
44
44
44
44
44
85
85
85
85
85
85
85
85
44
44
44
44
44
44
44
44
∑
∑
∑
∑
Ó ® Jœ .RÔœ .RÔœ RÔœ .Rœ RÔ
œ .Rœ Jœn Jœ Jœ Rœ Rœrim
rim
ti
ti
ri
ri
ti
ti
ri
ri
ti
ti
ri
ri
ri
ri
ra
ra
rim
rim
ti
ti
ri
ri
.Rœ .Rœ Jœ . .Jœ . .Jœ œ Jœ Jœ Jœ jœvi
vi
yav
yav
qa
qa
li
li
az
az
na
na
u
u
ri
ri
de
de
la
law .œ ‰
w .œ ‰
∑
∑
∑
∑
Jœ Rœ Rœ# Jœn Jœ Jœ Jœ Rœ Rœ Jœra
ra
ho
ho
ho
ho
ho
ho
vo
vo
ho
ho
ho
ho
vo
vo
da
da
jœ jœ Jœ Jœ Jœ Jœ œva
va
ha
ha
ha
ha
ha
ha
vo
vo
ho
ho
ho
ho
∑
∑
∑
∑
∑
∑
. .œ ‰ .ho
ho
. .œ ‰ .ho
ho
∑
∑
~~~~~
- - - - -
- - - - -
~~~~~
311
V
V
?
?
V
V
?
?
b
b
b
b
b
b
b
b
44
44
44
44
44
44
44
44
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
46
46
46
46
46
46
46
46
∑
˙ rœ rœ jœ jœ jœbha
ha
vo
vo
ri
ri
av
av
di
di
la
la
∑
∑
∑
∑
∑
∑
œ œ Jœ Jœ Rœn Rœ Rœ Rœho
ho
da
da
vo
vo
de
de
li
li
vo
vo
de
de
li
li
œ Œ jœ jœ Jœn Jœda
da
a
a
ha
ha
ha
ha
ha
ha
∑
∑
∑
∑
∑
∑
. .œ ≈ Œa
a
˙ Rœ Rœ ‰haQ
haQ
da
da
∑
∑
∑
∑
∑
∑
.Jœ Rœ Jœ Jœ .œ ‰vo
vo
de
de
la
la
vo
vo
ho
ho
Rœ Rœ œ Rœ Jœ œ Rœ ‰vo
vo
ri
ri
ra
ra
haQ
haQ
da
da
∑
∑
∑
∑
∑
∑
∑
∑
˙ ˙uo
uo
ho
ho˙ ˙uo
uo
ho
ho
∑
∑
∑
∑
∑
∑
w
w
∑
∑
∑
∑
312
V
V
?
?
V
V
?
?
b
b
b
b
b
b
b
b
46
46
46
46
46
46
46
46
44
44
44
44
44
44
44
44
83
83
83
83
83
83
83
83
44
44
44
44
44
44
44
44
89
89
89
89
89
89
89
89
‰ . Rœ œ ˙ Jœ Jœ .Jœ Rœdi
di
la
la
di
di
la
la
vo
vo
di
di
Jœ Jœ Jœ Jœ œ œ Jœ Jœ œgle
gle
xis
xis
Svil
Svil
ma
ma
mi
mi
Txu
Txu
a
a
vo
vo
da
daw .œ ‰
w .œ ‰
∑
∑
∑
∑
.Jœ Rœ Jœ Jœ Jœ Jœ Rœ Rœ Rœ Rœla
la
ho
ho
no
no
no
no
vo
vo
de
de
la
la
vo
vo
de
de
la
la
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœver
ver
miv
miv
yve
yve
bi
bi
ne
ne
biT
biT
Ce
Ce
miT
miT
∑
∑
∑
∑
∑
∑
œ ‰ho
ho
œ ‰da
da
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.Jœ Rœn Jœ Jœ Jœ Jœ œ œ Rœ ≈
i
i
ru
ru
di
di
lu
lu
di
di
la
la
ho
ho
ho
ho
˙ rœ rœ jœ jœ jœva
va
vo
vo
ri
ri
av
av
de
de
la
la
∑
∑
~~~~~~- - - - - - - - -
- - - - - - - - -
~~~~~~
313
V
V
?
?
V
V
?
?
b
b
b
b
b
b
b
b
89
89
89
89
89
89
89
89
43
43
43
43
43
43
43
43
45
45
45
45
45
45
45
45
43
43
43
43
43
43
43
43
46
46
46
46
46
46
46
46
∑
∑
∑
∑
.Jœ Rœ Jœ Jœ Jœ Jœ œ œ Rœ ‰ .i
i
ri
ri
di
di
lu
lu
di
di
la
la
ho
ho
ho
ho
.jœ rœ œ jœ jœ Jœ œva
va
ha
ha
ha
ha
vo
vo
ha
ha
ha
ha
ha
ha
∑
∑
∑
∑
∑
∑
Jœ .Jœ ≈ Jœ .Jœ Rœdi
di
a
a
i
i
a
a
i
i
.˙ha
ha
∑
∑
∑
∑
∑
∑
Jœ Rœ .Jœn Rœ .Jœ Jœ .œ ‰a
a
u
u
a
a
ho
ho
ho
ho
ho
ho
ho
ho
.Jœ .jœ Rœ .Jœ Jœ .œ ‰va
va
a
a
ha
ha
ho
ho
ho
ho
ho
ho
∑
∑
∑
∑
∑
∑
∑
∑
.˙ho
ho.˙ho
ho
314
V
V
?
?
V
V
?
?
b
b
b
b
b
b
b
b
46
46
46
46
46
46
46
46
44
44
44
44
44
44
44
44
43
43
43
43
43
43
43
43
42
42
42
42
42
42
42
42
∑
∑
∑
∑
Ó Jœ Rœ Rœ Jœ Rœ Rœ Jœ Jœ Jœ Rœ Rœ
rim
rim
ti
ti
ri
ri
rim
rim
ti
ti
ri
ri
ri
ri
ra
ra
rim
rim
ti
ti
ri
ri
Jœ Jœ Jœ Jœ œ œ Jœ Jœ Jœjœ
ver
ver
miv
miv
yve
yve
bi
bi
ne
ne
biT
biT
Ce
Ce
miT
miT
de
de
la
law .œ ‰
w .œ ‰
∑
∑
∑
∑
.Jœ Rœ Jœ Jœ Jœ Jœ œ œ Jœra
ra
ho
ho
ho
ho
ho
ho
vo
vo
ho
ho
ho
ho
ho
ho
.jœ rœ Jœ Jœ Jœ Jœ œva
va
ha
ha
ha
ha
ha
ha
vo
vo
ho
ho
ho
ho
∑
∑
∑
∑
∑
∑
˙ Œho
ho
˙ Œho
ho
∑
∑
~~~~~~~
~~~~~~~
~~~~~~~~~~~~- - - -
- - - -
~~~~~~~~~~~~
315
V
V
?
?
V
V
?
?
b
b
b
b
b
b
b
b
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
∑
.Jœ Rœ Jœ Rœ Rœho
ho
ri
ri
de
de
la
la
vo
vo
∑
∑
∑
∑
∑
∑
Adagio A67 poco a poco accelerando al A112
Rœ Rœ JœRœ Rœ RœRœ Jœ Œ .
i
i
a
a
i
i
a
a
ho
ho
i
i
a
a
ho
ho
Jœ Rœ ≈ Jœ Jœ Jœ œ œn œ œoQ
oQ
da
da
vi
vi
yav
yav
qa
qa
li
li
a
a. .˙ Rœ ≈uo
uo
hou
hou
.œ Jœ .œ ‰he
he
av
av
da
da
∑
∑
∑
∑
Œ .Jœ Rœ .Jœrœ œ
vo
vo
de
de
la
la
vo
vo
da
da
Jœ Jœ Jœjœ jœ jœ œ
zna
zna
u
u
ri
ri
na
na
na
na
da
da
∑
.œ Jœ Jœ Rœ Rœ œbhe
he
he
he
he
he
a
a
vo
vo
da
da
∑
∑
∑
∑
œ Œda
da
œ Œda
da
∑
œ Œha
ha
Rœ Jœ Rœ Rœ RœRœ Rœ
u
u
a
a
u
u
a
a
i
i
a
a
ho
ho
.Rœ RÔœ Jœ Jœ Rœ Rœvo
vo
ri
ri
av
av
de
de
la
la
da
da
∑
.Jœ Rœ Jœ Jœa
a
i
i
e
e
he
he
- - - - -
- - -- -
316
V
V
?
?
V
V
?
?
b
b
b
b
b
b
b
b
44
44
44
44
44
44
44
44
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
∑
∑
∑
∑
.Rœ RÔœ .Rœ RÔœ .Rœ RÔœ .Rœ RÔœ .Rœ RÔœ .Rœ RÔœ Jœ ‰
va
va
i
i
a
a
i
i
a
a
i
i
a
a
i
i
a
a
i
i
a
a
ha
ha
ho
ho
Jœ Jœ Jœ Jœ Jœ Jœ Jœnrœ ≈
voQ
voQ
da
da
vi
vi
yav
yav
qa
qa
li
li
o
o
da
dawho
ho
œ .Jœ ≈ .Jœ Rœ Jœ ‰he
he
he
he
he
he
a
a
va
va
∑
∑
∑
∑
Jœ Jœ Rœ Rœ Rœ Rœ Rœ Rœ Rœ Rœ œvo
vo
de
de
la
la
vo
vo
de
de
la
la
vo
vo
ru
ru
di
di
la
la
vo
vo
Jœ Jœ Jœ Jœ Jœ Rœbrœ rœ rœ jœ
a
a
zna
zna
u
u
ri
ri
hov
hov
di
di
la
la
na
na
ni
ni
na
na
Jœ Ó . .
.Jœ ≈ Jœ Jœ .Rœ RÔœ Rœ Rœ œbhe
he
he
he
he
he
he
he
ru
ru
di
di
la
la
vo
vo
Rœ Rœ RœRœ Rœ RœRœ Rœ
i
i
a
a
u
u
a
a
ho
ho
u
u
a
a
ho
ho
Rœ Rœ Jœ Jœ Rœ Rœvo
vo
ri
ri
av
av
de
de
la
la
da
da
∑
œ œaQ
aQ
he
he
œ Œda
da
œ Œda
da
∑
œha
ha
Rœ Rœ Rœ Rœ Rœ Rœ Rœ Rœ Jœ Œ .i
i
ri
ri
a
a
ho
ho
ho
ho
ho
ho
di
di
la
la
ho
ho
Jœ Rœ ≈ Rœ Rœ Rœ Rœ Jœ Jœ Jœnrœ ≈
voQ
voQ
da
da
qa
qa
li
li
vi
vi
yav
yav
a
a
zna
zna
u
u
ri
riwho
ho
œ Jœ Rœ Rœ œ Jœ ‰he
he
he
he
he
he
a
a
va
va
u
u
∑
∑
∑
∑
- - - - - -
- - - - -
- - - - -
- - - - - -
317
V
V
?
?
V
V
?
?
b
b
b
b
b
b
b
b
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
.Rœ RÔœ Rœ Rœ Rœ Rœ Rœ Rœ Rœ Rœ .Rœ RÔœ Rœ Rœ Jœ
vo
vo
de
de
la
la
di
di
la
la
vo
vo
de
de
la
la
vo
vo
de
de
la
la
ho
ho
na
na
ni
ni
na
na
Jœ Jœ Jœ Jœ Rœ Rœ Rœrœ rœ rœ jœ
gle
gle
xis
xis
Svil
Svil
ma
ma
mi
mi
Txu
Txu
a
a
vo
vo
na
na
na
na
da
daœ Ó .
.œ Rœ ≈ .Jœ Rœ œbe
e
he
he
he
he
a
a
va
va
∑
∑
∑
∑
œ Œda
da
œ Œda
da
∑
œ Œha
ha
Rœ Rœ Rœ RœRœ RœRœ Rœ
u
u
a
a
ho
ho
u
u
a
a
i
i
a
a
ho
ho
.Rœ RÔœ Jœ Jœ Rœ Rœvo
vo
ri
ri
av
av
de
de
la
la
da
da
∑
œ Rœ Rœ JœaQ
aQ
a
a
ha
ha
he
he
∑
∑
∑
∑
Rœ Rœ RœRœ RœRœ RœRœ RœRœ RœRœ Rœ ‰ .
i
i
a
a
i
i
a
a
i
i
a
a
i
i
a
a
i
i
a
a
i
i
a
a
vo
vo
Jœ Jœ Rœ Rœ Rœ rœ Jœ Jœ Jœnrœ ≈
voQ
voQ
da
da
dRes
dRes
mi
mi
Txu
Txu
a
a
xval
xval
miv
miv
ya
ya
var
varwho
ho
œ œ Jœ Jœ Jœ ‰he
he
he
he
he
he
a
a
va
va
- - - - -
-- - - -
- - - - -
- - - - -
318
V
V
?
?
V
V
?
?
b
b
b
b
b
b
b
b
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
∑
∑
∑
∑
Jœ Jœ Rœ Rœ Rœ Rœ Rœ Rœ Rœ Rœ œvo
vo
de
de
la
la
vo
vo
de
de
la
la
vo
vo
di
di
la
la
vo
vo
vo
vo
Jœ Jœ Jœbjœ jœ jœ œ
mi
mi
Txu
Txu
a
a
vo
vo
na
na
na
na
da
da
∑
.œ Jœ .Rœ RÔœ Rœ Rœ Rœb Rœ Jœhe
he
he
he
he
he
vo
vo
de
de
la
la
na
na
ni
ni
na
na
Jœ Rœ Rœ Rœ Rœ Rœ Rœi
i
a
a
vo
vo
la
la
vo
vo
de
de
la
la
Jœ Jœ Jœ Rœ Rœi
i
ov
ov
de
de
la
la
da
da
∑
œ Jœ Jœa
a
he
he
a
a
œ Œda
da
œ Œda
da
∑
œ Œha
ha
Rœ Rœ Rœ Rœ .Jœ Rœ Jœ Jœ .Jœ Rœi
i
ri
ri
a
a
ho
ho
de
de
la
la
ho
ho
de
de
la
la
ho
ho
Jœ Rœ ≈ Rœ Rœ Rœ Rœ Jœ œ œn Jœrœ ≈
voQ
voQ
da
da
ver
ver
miv
miv
yve
yve
bi
bi
ne
ne
biT
biT
Ce
Ce
miT
miTwho
ho
˙ ˙he
he
he
he
∑
∑
∑
∑
- - -
- -- -
- - - -
- - -
319
V
V
?
?
V
V
?
?
b
b
b
b
b
b
b
b
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
Rœ Rœ Rœ Rœ Rœ Rœ Rœ Rœ Rœ Rœ Rœrœ Rœ
rœ Jœdi
di
la
la
vo
vo
di
di
la
la
vo
vo
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320
V
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b
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321
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322
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44
44
44
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44
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∑
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∑
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da.˙ œuo
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∑
∑
∑
∑
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~~~~~~~~~~~~- - -
323
V
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~~~ ~~~ ~~~
~~~ ~~~- -
- - -
- - - -
-
- - - - - -
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~~
324
V
V
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∑
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ri
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∑
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ma
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a
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miv
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bi
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.˙ œho
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ho
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~~~ ~~~ ~~~
~~~~~~ ~~~~~~ ~~~~~~
- - -
- - -
- --
- - - -
- - - -
- - -
- - -
-
- - - - - - - - - - -
- - - - - - - - - - - - - ~~
325
V
V
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V
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~~~~~~
~~~~~~~~~~~~ ~~~~~~~~~~~~ ~~~
~~~ ~~~~~~~~~~~~~~~~~~~~~~~~
- -
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~
326
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~~~~~~~~~~~~~~~~~~~~~~~~ ~~~
~ ~~~~
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~~~
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~~
327
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##
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Adagio A67 poco a poco accelerando al A100
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hoho
hoho
.œ Jœ .œ Jœvovo
riri
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aa
vovo
.Jœ Rœ .Jœ Rœ Rœ Rœ Jœ œ
hoho
ii
aa
hoho
uu
ruru
aa
hoho
œ œ œ Jœ Jœ œhoho
hoho
hoho
œ Jœ Jœ Jœ œ Jœvava
hehe
aa
oo
hoho
hoho
.œ ‰hoho
.œ ‰hoho
.œ ‰hoho
.Jœ Rœ Jœ Jœ Rœ Rœ Jœ œ
hoho
ii
aa
hoho
uu
ruru
aa
hoho
Jœ Jœ Jœ Jœ Jœ Jœ œasas
wiwi
bibi
WoWo
ee
lele
sasa
œ Jœ Jœ Jœ œ JœheQheQ
ii
dada
oo
hoho
hoho
.œ ‰hoho
.œ ‰hoho
.œ ‰hoho
- - - --- - -
11. elesa@@@@@
Elesa
I choir
guria
Guria
328
V
V
?
##
# #
# #
44
44
44
42
42
42
44
44
44
Jœ Jœ œ Jœ Jœ œii
riri
aa
uu
ruru
aa
œ œ œ œasas
wiwi
bibi
WoWo
œ œ œ œvava
haha
haha
haha
Jœ Jœ œ Jœ Jœ œii
riri
aa
uu
ruru
aa
œ œ œ œ œee
lele
sisi
aa
œ œ œ œvava
haha
haha
haha
Jœ Jœ œ Jœ Jœ œii
riri
aa
uu
ruru
aa
œ œ œ Jœ ‰oo
hoho
hoho
hoho
œ œ œ Jœ ‰vava
haha
haha
haha
Jœ Jœ .Jœ Rœ JœJœ œ
ii
riri
aa
hoho
uu
aa
hoho
œ Jœ Jœ Jœ Jœ œaQaQ
bibi
WoWo
ee
lele
sasa
œ .Jœ Rœ Jœ œ JœvaQvaQ
hehe
aa
aa
haha
haQhaQ
.œ ‰hoho
.œ ‰hoho
.œ ‰hoho
- - - - - - - -- -- - - -- -
V
V
?
##
# #
# #
44
44
44
42
42
42
44
44
44
42
42
42
44
44
44
Jœ Jœ JœJœ .œ Jœ
ii
aa
uu
aa
hoho
hoho
.œ Jœ .œ Jœvovo
ii
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oo
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hoho
ii
aQaQ
hoho
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dede
lili
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vovo
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Jœ Rœ Rœ Jœ Jœ J
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haha
ii
riri
aa
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ii
aQaQ
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baba
bibi
WoWo
ee
lele
sasa
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ii
daQdaQ
oo
hoho
hoho
.œ ‰hoho
.œ ‰hoho
.œ ‰hoho
- - - --- - -
II choir
329
V
V
?
##
# #
# #
44
44
44
42
42
42
44
44
44
Jœ Jœ œ Jœ Jœ œii
riri
aa
uu
ruru
aa
œ œ œ œasas
wiwi
bibi
WoWo
œ œ œ œvava
haha
haha
haha
Jœ Jœ œ Jœ Jœ œii
riri
aa
uu
ruru
aa
œ œ œ œee
lele
sasa
vovo
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haha
haha
haha
Jœ Jœ œ Jœ Jœ Jœ ‰ii
riri
aa
uu
ruru
aa
.œ ‰ Jœ Jœ Jœ Jœgaga
vivi
tata
noTnoT
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haha
haha
haha
Jœ Jœ Jœ Jœ JœJœ œ
ii
riri
aa
hoho
uu
aa
hoQhoQ
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lele
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aa
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.œ ‰hoho
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- - - - - - - - - - -- - -- - -- - - - -
V
V
?
##
# #
# #
44
44
44
42
42
42
44
44
44
42
42
42
44
44
44
Jœ Jœ JœJœ .œ Jœ
ii
aa
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hoho
hoho
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riri
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aa
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hoho
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aa
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Jœ Rœ Rœ Jœ Jœ J
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lele
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ii
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oo
hoho
hoho
.œ ‰hoho
.œ ‰hoho
.œ ‰hoho
- - - --- - -
I choir
330
V
V
?
##
# #
# #
44
44
44
42
42
42
44
44
44
Jœ Jœ œ Jœ Jœ œii
riri
aa
uu
ruru
aa
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wiwi
bibi
WoWo
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haha
haha
haha
Jœ Jœ œ Jœ Jœ œii
riri
aa
uu
ruru
aa
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lele
sisi
aa
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haha
haha
haha
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riri
aa
ii
riri
aa
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hoho
hoho
hoho
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haha
haha
haha
Jœ Jœ JœJœ Jœ Jœ œ
ii
aa
uu
aa
ii
aa
hoho
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dada
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doTdoT
ee
lele
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aa
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haQhaQ
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- - - - - - - - - -- - -- - - - -- -
V
V
?
##
# #
# #
44
44
44
42
42
42
44
44
44
42
42
42
44
44
44
Jœ Jœ JœJœ .œ Jœ
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aa
uu
aa
hoho
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Jœ Rœ Rœ Jœ Jœ J
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haha
ii
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ii
aa
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lele
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ii
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oo
hoho
hoho
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- - - - -- -- - -
II choir
331
V
V
?
##
# #
# #
44
44
44
Rœ Rœ Jœ Rœ Rœ Jœ Jœ R
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riri
aa
uu
ruru
aa
hoho
ii
riri
aa
hoho
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœasas
wiwi
biWbiW
oo
ee
lele
sasa
vovo
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vovo
hehe
aa
vava
haha
hehe
aa
Andante A104 poco a poco accelerando al fine
.Jœ Rœ .Jœ Rœ JœJœ œ
ii
riri
aa
hoho
uu
aa
hoho
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riri
vovo
dede
lili
aa
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aa
ee
hehe
hehe
Rœ Rœ Jœ Rœ Rœ Jœ R
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ii
riri
aa
uu
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aa
ii
riri
aa
uu
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aa
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœaa
baba
bibi
WoWo
ee
lele
sisi
aa
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vovo
hehe
aa
vava
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aa
Rœ Rœ Jœ Rœ Rœ Jœ J
œJœ œ
ii
riri
aa
uu
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aa
ii
aa
hoho
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dede
lili
vovo
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lili
aa
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aa
ee
hehe
hehe
- - - - - - - - - -- -- -- - - - - -
V
V
?
##
# #
# #
Rœ Rœ Jœ Rœ Rœ Jœ Jœ R
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riri
aa
uu
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aa
hoho
ii
riri
aa
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tata
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ee
lele
sasa
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aa
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ii
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uu
aa
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dede
lili
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aa
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aa
ee
hehe
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Rœ Rœ Jœ Rœ Rœ Jœ Rœ Rœ Jœ R
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aa
uu
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ii
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aa
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baba
bibi
WoWo
ee
lele
sisi
aa
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hehe
aa
vava
haha
hehe
aa
Rœ Rœ Jœ Rœ Rœ Jœ J
œJœ œ
ii
riri
aa
uu
ruru
aa
ii
aa
hoho
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lili
vovo
dede
lili
aa
dada
.œ rœ rœvovo
dede
lala
. .œ Rœ Jœ Jœ œhehe
aa
ee
hehe
hehe
- - - - - - - - - - -- - -- - -- - - - -
I choir II choir
I choir II choir
I choir
332
V
V
?
##
# #
# #
Rœ Rœ Jœ Rœ Rœ Jœ Jœ R
œ Rœ Jœ Jœii
riri
aa
uu
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aa
hoho
ii
riri
aa
hoho
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœvava
TaTa
mama
SoTSoT
ee
lele
sasa
vovo
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hehe
aa
vava
haha
hehe
aa
.Jœ Rœ .Jœ Rœ JœJœ œ
ii
riri
aa
hoho
uu
aa
hoho
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dede
lili
vovo
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lili
aa
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aa
ee
hehe
hehe
Rœ Rœ Jœ Rœ Rœ Jœ R
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ii
riri
aa
uu
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aa
ii
riri
aa
uu
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aa
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baba
bibi
WoWo
ee
lele
sisi
aa
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vovo
hehe
aa
vava
haha
hehe
aa
Rœ Rœ Jœ Rœ Rœ Jœ J
œJœ œ
ii
riri
aa
uu
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aa
ii
aa
hoho
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vovo
riri
vovo
dede
lili
aa
dada
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aa
ee
hehe
hehe
- - - - - - - - - - -- - -- - -- - - - -
V
V
?
##
# #
# #
Rœ Rœ Jœ Rœ Rœ Jœ Jœ R
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riri
aa
uu
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aa
hoho
ii
riri
aa
hoho
Jœn Jœ Jœ Jœ Jœ Jœ Jœjœ
aa
baba
bibi
WoWo
ee
lele
sasa
vovo
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vovo
hehe
aa
vava
haha
hehe
aa
.Jœ Rœ .Jœ Rœ JœJœ œ
ii
riri
aa
hoho
uu
aa
hoho
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lili
vovo
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lili
aa
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aa
ee
hehe
hehe
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riri
aa
uu
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aa
ii
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aa
uu
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aa
Jœn Jœ Jœ Jœ Jœ Jœ Jœ jœaa
baba
bibi
WoWo
ee
lele
sisi
aa
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hehe
aa
vava
haha
hehe
aa
Rœ Rœ Jœ Rœ Rœ Jœ J
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ii
riri
aa
uu
ruru
aa
ii
aa
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lala
oo
hoho
hoho
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aa
ee
hehe
hehe
- - - - - - - - - -- -- -- - - - - -
I choir II choir
I choir II choir
333
V
V
?
##
# #
# #
Rœ Rœ Jœ Rœ Rœ Jœ Jœ R
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riri
aa
uu
ruru
aa
hoho
ii
riri
aa
hoho
Jœn Jœ Jœ Jœ Jœ Jœ Jœ jœvava
TaTa
mama
SoTSoT
ee
sese
sasa
vovo
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aa
vava
haha
hehe
aa
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ii
riri
aa
hoho
uu
aa
hoho
.Jœ Rœ .Jœrœ Jœ Jœ œ
dede
lili
vovo
dede
lili
aa
dada
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aa
ee
hehe
hehe
Rœ Rœ Jœ Rœ Rœ Jœ Jœ R
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riri
aa
uu
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aa
hoho
ii
riri
aa
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Jœn Jœ Jœ Jœ Jœ Jœ Jœjœ
aa
baba
bibi
WoWo
ee
lele
sisi
aa
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aa
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aa
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ii
riri
aa
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uu
aa
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lala
oo
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hoho
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lala
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aa
ee
hehe
hehe
- - - - - - - - - - -- - -- - -- - - - -
V
V
?
##
# #
# #
Rœ Rœ Jœ Rœ Rœ Jœ Jœ R
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riri
aa
uu
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aa
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ii
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ee
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aa
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aa
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ii
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lili
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aa
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aa
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aa
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aa
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aa
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who.ho.
who.ho.
who.ho.
˙ Ó
˙ Ó
˙ Ó- - - - - - - - - - -- - -- - -- - - - -
I choir II choir
I choir II choir
I choir
II choir
334
V
V
?
bb
b b
b b
44
44
44
45
45
45
44
44
44
b b b b
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∑
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o
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∑
Andante A84
∑
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ho
ho
ho
ho
ho
ho
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∑
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. .˙ Jœho
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V
V
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#
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12. naduri@@@@@
Naduri
imereTi
Imereti
335
V
V
?
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13. namgluri@@@@@
Namgluri
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338
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339
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~~~~~~~
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340
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14. naduri@@@@@
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341
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342
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343
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~~~~
~~~~~~~~~~~- - -- - -
344
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~~- -- -
345
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~~
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346
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- - - - - - -- - - - - - -
347
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∑
∑
.Jœ Rœ Jœ Jœ œ Jœ Jœhaha
uu
aa
hoho
hoho
huhu
vovo
.œ Jœ Jœ Jœ œhaha
ii
aa
vv
dede
∑~~~~~~~~~~~~~~~- - - - - -- - -- - -
349
V
V
?
V
V
?
##
# #
# #
# #
# #
# #
43
43
43
43
43
43
44
44
44
44
44
44
∑
˙ ˙vovo
hoho
whehe
œ Ó .hoho
œ jœ ‰ Óqiqi
oo
∑
∑
˙ œ œhoho
hoho
w
∑
∑
∑
∑
.˙ œvovo
.˙ œhehe
hehe
∑
∑
∑
œ jœ ‰ Óhihi
hoho
. .œ Rœ œ œhoho
hoho
hoho
hoho
whehe
∑
∑
∑
.Jœ Rœ Jœ Jœ .Jœ Rœ Jœ Jœhaha
uu
aa
hoho
haha
uu
aa
hoho
.˙ Rœ Jœ ≈hoho
hoho
houhou
whoho
∑
∑
∑
.Jœ Rœ Jœ Jœ# œhaha
uu
aa
hoho
hoho
∑
.˙
∑
∑
∑
~~~~~~
--
350
V
V
?
V
V
?
##
# #
# #
# #
# #
# #
44
44
44
44
44
44
# # # #
# # # #
# # # #
# # # #
# # # #
# # # #
46
46
46
46
46
46
œ Ó .hoho
œ œ œ œ œ œaa
baba
didi
lala
w
∑
∑
∑
∑
˙ œ œvivi
aa
w
∑
∑
∑
œ# œ Jœ Jœ Jœ JœQeuQeu
hoho
ii
riri
aa
haha
˙# œ Œrere
dada
w
∑
∑
∑
œ# Jœ Jœ ˙
haha ho
hohoho
hoho
∑
w
∑
∑
∑
œ Ó .hoho
whoho
w
∑
∑
∑
Ó Jœ Jœ Jœ Jœhaha
uu
aa
hoho
œ œ .œ jœhoho
hoho
hehe
ii
˙ ÓheQheQ
∑
∑
∑
~~~~
~~~~~- - - -- - - -
351
V
V
?
V
V
?
### #
# # # #
# # # #
# # # #
# # # #
# # # #
46
46
46
46
46
46
n n # #
n n # #
n n # #
n n # #
n n # #
n n # #
44
44
44
44
44
44
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœ œn
haha
uu
aa
hoho
haha
uu
aa
hoho
hoho
hoho
hoho
œ œ .œ œ jœ jœ Óee
hehe
hehe
ii
∑
∑
∑
∑
œ Ó .hoho
œ œ œ œaa
baba
didi
lala
∑
∑
∑
∑
a c c e l.
∑
˙ œ œvivi
aa
∑
∑
∑
∑
œ œ œ Jœ Jœvovo
dede
uaua
hoho
hoho
œ œ œ Œrere
hehe
hehe
∑
∑
∑
∑
.Jœ Rœ œ Jœ Jœ œhoho
dede
lala
hoho
hoho
hoho
œ œ œ œhoQhoQ
dada
cvricvri
anan
∑
∑
∑
∑
r i t.
- - - - - -- - - - - -
352
V
V
?
V
V
?
##
# #
# #
# #
# #
# #
# # # #
# # # #
# # # #
# # # #
# # # #
# # # #
˙ Óhoho
˙ Ózeze
∑
∑
.˙ Jœ Jœvovo
hoho
hoho
wvovo
a tempo
∑
∑
∑
∑
.œ ‰ Óhoho
. .˙ Jœii
∑
∑
∑
∑
œ œ œ œdidi
laslas
vivi
aa
.˙ œee
hehe
∑
∑
∑
∑
œ œ œ œrere
cvricvri
aa
nini
œ œ Óhehe
∑
∑
∑
Rœ Rœ Jœ Ó .haha
uu
aa
∑
wvovo
∑
∑
∑
∑
Ó ‰ Jœ œ œaa
dada
w- - - - -
~~~- - - - -
353
V
V
?
V
V
?
### #
# # # #
# # # #
# # # #
# # # #
# # # #
45
45
45
45
45
45
46
46
46
46
46
46
n n # #
n n # #
n n # #
n n # #
n n # #
n n # #
44
44
44
44
44
44
∑
∑
∑
∑
˙ .œ œ œdidi
laslas
w
∑
∑
∑
∑
˙ œ œ œvivi
aa
w
a c c e l.
∑
∑
∑
∑
œ œ œ Órere
dada
w œ
∑
∑
∑
∑
w œ œ œvovo
hoho
w ˙heQheQ
∑
∑
∑
Jœ Jœ Jœ Jœ œ œuu
ruru
aa
haha
hoho
hoho
˙ Óhoho
∑
∑
∑
∑
Jœ Jœ Jœ Jœ Jœ Jœ œ
vava
uu
aa
haha
hoho
hoho
hoho
∑
∑
~~
~~~~~- - -- - -
354
V
V
?
V
V
?
##
# #
# #
# #
# #
# #
∑
∑
∑
œ Ó .hoho
œ œ œ œaa
baba
didi
lala
∑
∑
∑
∑
∑
œ œ œ œvivi
aa
∑
∑
∑
∑
œ œ ˙vovo
haha
hoho
œ œ œ Œrere
∑
∑
∑
∑
jœ Jœ Jœ œ Jœ Jœ œuu
aa
uu
aa
hoho
hoho
hoho
œ œ œ œhaQhaQ
dada
cvricvri
aa
∑
∑
˙ ˙vovo
hoho
˙ ˙QeQe
hehe
˙hoho
˙ Ónini
∑
Moderato A120
∑
˙ .œ ‰hoho
hoho
˙ .œ Jœhehe
hehe
ii
∑
∑
∑
∑
.˙ œvovo
hoho
.˙ œee
hehe
∑
∑
∑
∑
˙ œ Œhoho
hoho
.˙ Œhehe
∑
∑
∑
~~~~~~
- - - - - -- - - - - -
355
V
V
?
V
V
?
##
# #
# #
# #
# #
# #
# # # #
# # # #
# # # #
# # # #
# # # #
# # # #
46
46
46
46
46
46
811
811
811
811
811
811
44
44
44
44
44
44
45
45
45
45
45
45
œ jœ œ Jœ Jœ# œvovo
ii
aa
ii
aa
hoho
wvovo
wvovo
∑
∑
∑
Jœ# Jœ Jœ Jœ œ œhehe
ii
aa
haha
hoho
hoho
Ó œ œ œaa
baba
w
∑
∑
∑
∑
œ œ œ œ ˙winwin
qaqa
lili
dada
.w
∑
∑
∑
Œ .jœ œ œ Jœ Jœ Jœ Jœ
uu
aa
hoho
haha
uu
aa
haha
.œ œ œ œ œ œ .œSaSa
meme
yaya
w .œ
∑
∑
∑
œ œ ˙haha
hoho
hoho
œ Ó .rara
w
∑
∑
∑
- - - - -- - - - -
356
V
V
?
V
V
?
### #
# # # #
# # # #
# # # #
# # # #
# # # #
45
45
45
45
45
45
44
44
44
44
44
44
46
46
46
46
46
46
n n n n b b b
n n n n b b b
n n n n b b b
n n n n b b b
n n n n b b b
n n n n b b b
44
44
44
44
44
44
œ ∑hoho
w œvovo
w œ
∑
∑
∑
Jœ Jœ œ Jœ Jœ œuu
aa
hoho
uu
aa
hoho
œ œ .œ jœhoho
hoho
hehe
ii
œ Ó .
∑
∑
∑
Jœ Jœn Jœ Jœ Jœ Jœ œn .œ ‰QeQe
uu
aa
haha
hoho
hoho
hoho
hoho
œ œ .jœ rœ œ Óee
hehe
hehe
hehe
hehe
∑
∑
∑
∑
∑
œ œ œ œ œaa
baba
winwin
qaqa
∑
∑
∑
∑
∑
œ œ œ œlili
dada
∑
∑
∑
∑
~~
~~~
~ ~ ~ ~~~
- -- -
357
V
V
?
V
V
?
bbb
b b b
b b b
b b b
b b b
b b b
n n b
n n b
n n b
n n b
n n b
n n b
œ œ Jœ Jœ Jœ Jœvovo
hoho
uu
aa
hoho
hoho
œ œ œ ŒQeQe
hehe
hehe
∑
∑
∑
∑
œ jœ œ Jœ Jœ Jœ Jœhoho
uu
aa
hoho
hoho
hoho
hoho
.œ Jœ œ œSaSa
meme
yaya
rara
∑
∑
∑
∑
˙ Óhoho
˙ Óhoho
∑
∑
.˙ Jœ Jœvovo
hoho
hoho
wvovo
∑
∑
∑
∑
œ Ó .hoho
.˙ œii
∑
∑
∑
∑
œ œ œ œwinwin
qaqa
lili
SaSa
˙ Jœ .œee
hehe
∑
∑
∑
∑
œ œ œ œmomo
meme
yaya
rara
˙ Óhehe
~~~~~~
- - -
- - - - -
- - -
-- -- -
358
V
V
?
V
V
?
b
b
b
b
b
b
43
43
43
43
43
43
47
47
47
47
47
47
b b
b b
b b
b b
b b
b b
44
44
44
44
44
44
45
45
45
45
45
45
∑
∑
∑
jœ œ œ Jœ Jœ œuu
aa
hoho
ii
aa
hoho
˙ Óvovowvovo
∑
∑
∑
Jœ Jœ œ œii
aa
hoho
hoho
∑
.˙
∑
∑
∑
∑
œ œ œ Jœ Jœ œ œ ˙3
aa
baba
ii
wiwi
nn
qaqa
liliw .˙
∑
∑
∑
jœ œ œ œ Jœ Jœ
uu
aQaQ
hoho
haha
ii
aa
Jœ .œ Ódadaw
∑
∑
∑
œ Jœ Jœ ˙haha
haha
hoho
hoho
∑
w
~~~~- - - -- - - -
359
V
V
?
V
V
?
bb
b b
b b
b b
b b
b b
45
45
45
45
45
45
44
44
44
44
44
44
b b b
b b b
b b b
b b b
b b b
b b b
∑
∑
∑
œ ∑hoho
.˙ Rœ Rœjœ œ
vovo
hoho
hoho
hoho.˙ Ó
heQheQ
∑
∑
∑
jœ œ œ Jœ Jœ œuu
aa
hoho
ii
aa
hoho
˙ ¿ Œhoho
∑
∑
∑
∑
Jœ Jœ .Jœ Rœ Jœ Jœ œ
QeQe
uu
aa
haha
hoho
hoho
hoho
∑
∑
∑
∑
∑
œ Ó .hoho
.œ Jœ .œ Jœaa
baba
winwin
qaqa
∑
∑
∑
∑
∑
œ œ œ œlili
dada
∑
~~~
~~~~~~
~~~~~~~
~~~
- -- -
360
V
V
?
V
V
?
bbb
b b b
b b b
b b b
b b b
b b b
∑
∑
∑
œ œ Jœ Jœ Jœ Jœvovo
dede
lili
aa
hoho
hoho
œ Ó .SaSa
∑
∑
∑
∑
œ jœ œ Jœ Jœ Jœ Jœhoho
uu
aa
hoho
hoho
hoho
hoho
œ œ œ œmama
meme
yaya
rara
∑
∑
˙ ˙vovo
hoho
˙ ˙QeQe
hehe
˙hoho
˙hoho
∑
∑
˙ œ Œhoho
hoho
˙ .œ Jœhehe
hehe
ii
∑
∑
∑
Jœ Jœ Jœ Jœ œ ŒQeQe
uu
aa
hoho
hoho
.œ Jœ œ œmtimti
rara
lili
TvalTval
.˙ œvovo
hoho
∑
∑
∑
∑
œ œ œ œcremcrem
lili
aa
nini
˙ Jœ Œ .hoho
∑
∑
∑
- - - - - -
- - - - -
- - - - - -
- - - -
361
V
V
?
V
V
?
bbb
b b b
b b b
b b b
b b b
b b b
45
45
45
45
45
45
44
44
44
44
44
44
47
47
47
47
47
47
44
44
44
44
44
44
Jœ Jœ œ .Rœ .Rœ Rœ œii
riri
aa
uu
ruru
aa
vovo
wvovowvovo
∑
∑
∑
Jœ Jœ œ œ Jœ Jœ Œii
riri
aa
hoho
hoho
hoho
œ Ó .houhouw œ
∑
∑
∑
∑
œ œ œ œ œoQoQ
laQlaQ
aa
babaw
∑
∑
∑
Ó . œ œ Jœ Jœ Jœ JœaQaQ
hoho
aa
ii
aa
aa
˙ œ œ œ œ Œmtimti
rara
lili
dada.w œ
∑
∑
∑
œ œ œ ˙hoho
hoho
hoho
∑
w
∑
∑
∑
œ Ó .hoho
wvovow
∑
∑
∑
~~~- - -- - -
362
V
V
?
V
V
?
bbb
b b b
b b b
b b b
b b b
b b b
46
46
46
46
46
46
44
44
44
44
44
44
89
89
89
89
89
89
n b b
n b b
n b b
n b b
n b b
n b b
44
44
44
44
44
44
‰ . Rœ Rœ Rœ .Jœ . .œaa
ii
aa
hoho
hoho
œ œ .œ jœhoho
hoho
hehe
ii
.œ ‰ ÓhoQhoQ
∑
∑
∑
œ œ Jœ Jœ Jœ Jœ œ œhoho
hoho
uu
aa
hoho
hoho
hoho
hoho
œ œ ˙ Óee
hehe
hehe
∑
∑
∑
∑
∑
œ œ œ œ œaa
baba
mtimti
rara
∑
∑
∑
∑
∑
œ œ œ œlili
dada
∑
∑
∑
∑
œ œ ˙vovo
haha
hoho
œ œ œ Œee
hehe
hehe
∑
∑
∑
∑
Jœn Jœ Jœ Jœ œ œ .œhaha
ii
aa
hoho
hoho
hoho
œ œ œ .œTvalTval
cremcrem
lili
aa
∑
∑
∑
∑
~~~~~~
~~
~~~~~~~- - - - - -- - -- - -
--
363
V
V
?
V
V
?
bb
b b
b b
b b
b b
b b
44
44
44
44
44
44
87
87
87
87
87
87
44
44
44
44
44
44
˙ Óhoho
˙ Ónini
∑
∑
.˙ Jœ Jœvovo
hoho
hoho
wvovo
∑
∑
∑
∑
˙ ÓhoQhoQ
˙ .œ Jœbhoho
hoho
ii
∑
∑
∑
œ œ .Jœ Rœ œnii
aa
uu
aa
hoho
œ œ œ œmtimti
rara
lili
TvalTval
.˙ œee
hehe
∑
∑
∑
œ Ó .hoho
.œ Jœ œ œcremcrem
lili
aa
nini
˙ Óhehe
∑
∑
∑
∑
.œ œ œ Ódada
hahaw
vovo
∑
∑
∑
œ œ Jœ Jœ œii
aa
uu
aa
hoho
∑
w
∑
∑
∑
Jœ Jœ œ Jœ Œuu
aa
hoho
hoho
∑
. .˙
~~~
~~~~~~- - - - - -- - - - - -
~~~
364
V
V
?
V
V
?
bb
b b
b b
b b
b b
b b
44
44
44
44
44
44
811
811
811
811
811
811
44
44
44
44
44
44
46
46
46
46
46
46
44
44
44
44
44
44
∑
∑
∑
∑
œ Jœ Jœ ˙naa
baba
mm
titiw
∑
∑
∑
∑
œ œ œ ˙ œ œ œ jœrara
lili
dadaw .œ
∑
∑
∑
Jœ Jœ œ Jœ Jœ Jœ Jœuu
aa
hoho
haha
uu
aa
haha
jœ œ ‰ Óvovo
hahaw
∑
∑
∑
œ œ ˙hoho
hoho
hoho
∑
w
∑
∑
∑
œ Œ ∑hoho
w Jœ Jœ œvovo
hoho
hoho
hoho.˙ œ œ Œ
ii
~~~~~~~~ ~~~~- - - -- - - -
365
V
V
?
V
V
?
bb
b b
b b
b b
b b
b b
44
44
44
44
44
44
∑
∑
∑
œ œ œ œQeQQeQ
vava
hoho
hoho
.œ ‰ Óhoho
∑
∑
∑
∑
œ Jœ Jœ Jœ Jœ œhoho
uu
aa
hoho
hoho
hoho
∑
∑
∑
∑
∑
œ Ó .hoho
œ œ œ œ œaa
baba
mtimti
rara
∑
∑
∑
∑
∑
œ œ ˙lili
dada
∑
∑
∑
∑
œ œ œ Jœ Jœvovo
dede
lala
hoho
hoho
œ Ó .TvalTval
∑
∑
∑
∑
œ Jœ Jœb Jœ Jœ Jœ Jœhoho
uu
aa
hoho
hoho
hoho
hoho
œ Jœ Jœ œ œTvalTval
crecre
mm
lili
aa
∑- - - - - - - -- - - - - - - -
366
V
V
?
V
V
?
bb
b b
b b
b b
b b
b b
45
45
45
45
45
45
44
44
44
44
44
44
∑
.˙ œvovo
hoho
.˙ œvovo
hoho
œ Ó .hoho
œ Ó .nini
∑
Andante A92
∑
˙ .Jœ Rœ Jœ Œ .hoho
hohow œ
hoho
∑
∑
∑
∑
œ œ œ œ œaa
babaw
∑
∑
∑
‰ œ œ œ JœQeQQeQ
hoho
QeQQeQ
hoho
˙ œ œmeme
isisw
∑
∑
∑
.œ œ œ Jœii
aa
hoho
˙ œ œmevmev
kikiw
∑
∑
∑
˙ œ œhoho
hoho
.˙ œTxeTxe
haha.˙ œhoho
∑
∑
∑
.œ ‰ Óhoho
.œ ‰ Óhaha.œ ‰ Óhoho
∑
∑
∑
- - -- - -
367
V
V
?
V
V
?
bb
b b
b b
b b
b b
b b
œ œ œ œvovo
haha
dede
lolo
œ œ œ œmeme
isis
mevmev
kiki
∑
∑
∑
∑
Allegro A126
Jœ Jœ œ Jœ Jœ œvovo
dede
lala
vovo
hoho
hoho
œ œ œ œTxeTxe
davdav
jeqjeq
gverdgverd
∑
∑
∑
∑
˙ Óhoho
˙ Ósoso
∑
∑
.˙ œvovo
hoho
wvovo
∑
∑
∑
∑
.œ Jœ œ Œhoho
hoho
hoho
˙ œ Œhoho
∑
∑
∑
∑
Ó œ œaa
babaw
vovo
∑
∑
∑
∑
œ œ ˙meme
isis
mevmevw
∑
∑
∑
œ œ Jœ Jœ œii
aa
ii
aa
hoho
œ œ œ ˙kiki
TxeTxew
~~~
~~~
- -
~~~~
~~~~~
~ ~
- -
- - -
- - - -
- - -
368
V
V
?
V
V
?
bb
b b
b b
b b
b b
b b
45
45
45
45
45
45
44
44
44
44
44
44
∑
∑
∑
Jœ Jœ œ Jœ Jœ œii
aa
hoho
ii
aa
hoho
.œ œ œ œ ˙dadaw
∑
∑
∑
œ ∑
œ œ .œ Œ .haha
heQheQœ œ .œ Œ .
hoho
hoQhoQ
∑
∑
∑
œ œ ˙vovo
haha
hoho
œ œ œ œmeme
isis
mevmev
kiki
∑
∑
∑
∑
.Jœ Rœ œ Jœ Jœ Jœ Jœhaha
uu
aa
hoho
hoho
hoho
hoho
œ œ œ œ œTxeTxe
davdav
jeqjeq
gverdgverd
∑
∑
.˙ œvovo
hoho
.˙ œvovo
hoho
˙ Óhoho
˙ Ósoso
∑
∑
.œ Jœ Jœ Œ .hoho
hoho
hoho
˙ ˙hoho
hoho
∑
∑
∑
~~~
~~~
~~ ~~~~~~~
- - - -- - - -
369
V
V
?
V
V
?
bb
b b
b b
b b
b b
b b
43
43
43
43
43
43
44
44
44
44
44
44
œ œ œ Jœ Jœii
aa
hoho
dede
lala
.œn Jœ œ œ œaa
babaw
hoho
∑
∑
∑
œ Ó .hoho
˙n œ œrara
zezew
∑
∑
∑
∑
˙ œ ¿ ¿ ¿b3
xaQrxaQr da
da
w
∑
∑
∑
œ œ œ Jœ JœQeQe
haha
hoho
hoho
haha
.˙ œaa
haha.˙ œhoho
∑
∑
∑
˙ Œhoho
˙ Œhaha˙ Œhoho
∑
∑
∑
œ œ Jœ Jœ Jœ Jœvovo
dede
lili
aa
haha
hoho
.œ Jœ œ œaa
baba
rara
zeze
∑
∑
∑
∑
œ œ Jœ Jœ œhoho
QaQa
hoho
hoho
hoho
œ œ œ œxarxar
dada
mtimti
rara
∑
∑
∑
∑
~~~~~~
~~~~~
~~~~~- - - --- - - - -
--
370
V
V
?
V
V
?
bb
b b
b b
b b
b b
b b
43
43
43
43
43
43
47
47
47
47
47
47
44
44
44
44
44
44
˙ Óhoho
˙ Ólili
∑
∑
.˙ œ ¿vovo
hoho
.˙ œvovo
hoho
∑
∑
∑
∑
.œ Jœ ˙hoho
hoho
hoho
˙ Óhoho
∑
∑
∑
∑
˙ Œvovo
Œ ˙vovo
∑
∑
∑
∑
œ .Jœ .Jœ Jœ œ œ œ œ œ œaa
baba
qaqa
lolo ra
razeze
w .˙
∑
∑
∑
Jœ Jœ œ Jœ Jœ œQeQe
ii
hoho
QeQe
ii
hoho
œ Œ œ œxarxar a
ahahaw
∑
∑
∑
œ Ó .hoho
œ Ó .hehe˙ ¿ Œ
ii
~~ ~~~~
~~~~~~~ ~~~~~
~ ~
~~~- -- - -
-
371
V
V
?
V
V
?
bb
b b
b b
b b
b b
b b
∑
∑
∑
œ œ Jœ Jœ Jœ Jœvovo
hoho
ii
aa
haha
hoho
œ œ œ œaa
baba
rara
zeze
∑
∑
∑
∑
œ Jœ Jœ Jœ Jœ Jœ Jœhoho
didi
lala
hoho
hoho
hoho
hoho
œ Jœ Jœ œ œ œxarxar
dada
mm
titi
rara
∑
∑
.˙ Œvovo
wvovo
œ Ó .hoho
œ Ó .lele
∑
∑
˙ œ œqmaqma
ririw
hoho
∑
∑
∑
∑
˙ œ ŒTaTTaT
rerew
∑
∑
∑
œ œ œ Jœ Jœvovo
dede
lala
haha
hoho
œ œ ˙bmabma
dada. .˙ Jœ
ii
∑
∑
∑
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœuu
ruru
aa
haha
hoho
hoho
hoho
hoho
.˙ œmomo
mimi
woo
∑
∑
∑
~~
~~
- - - - -
- - - --
- - - --
- - - --
372
V
V
?
V
V
?
bb
b b
b b
b b
b b
b b
œ Ó .hoho
œ Ó .kleskles
œ Ó .hoho
∑
.œ Jœ ˙vovo
didi
lolo
wvovo
∑
∑
∑
∑
˙ Óhehewhoho
∑
∑
∑
∑
œ œ œ Jœ Jœqmaqma
riri
TaTa
TreTre
bbw
∑
∑
∑
∑
˙ œ œmama
dada˙ œ œ
hoho
hoho
hoho
∑
∑
∑
∑
˙ ˙momo
mimi
whoho
œ Jœ Jœ ˙QaQa
ii
aa
hoho
˙ ˙vovo
hoho
wvovo
∑
œ Ó .kleskles
œ Ó .hoho
Jœ Jœ Jœ Jœ Jœb Jœ Jœ Jœhaha
ii
aa
haha
hoho
hoho
hoho
haha
˙ Óhohowhoho
∑
∑
∑
~~
~ ~
~~~
~~
~~- - - - - -- - - - - -
373
V
V
?
V
V
?
bb
b b
b b
b b
b b
b b
œ Ó .hoho
œ œ œ œcici
xexe
zeze
dadaw
∑
∑
∑
œ œ ˙nvovo
dede
lala
˙ ˙gaga
dmadma.˙ ¿
∑
∑
∑
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœhaha
uu
aa
haha
hoho
hoho
hoho
hoho
˙ ˙mimi
kiki
whoho
∑
∑
∑
œ Ó .hoho
œ Ó .desdes
œ Ó .hoho
∑
.œ Jœ ˙vovo
didi
lolo
wvovo
∑
∑
∑
∑
.œ ‰ Óhohowhoho
∑
∑
∑
∑
œ œ œ œcici
xexe
zeze
dadaw
∑
∑
∑
œ œ ˙vovo
haha
hoho
œ Ó .gaga˙ œ œhoho
hoho
hoho
~ ~
~~~~~~~
~~~
~~~
~~~
~~~~ ~~
- - - - - -
- - -
- - - - - -
- - -
--
374
V
V
?
V
V
?
bb
b b
b b
b b
b b
b b
∑
∑
∑
Jœ Jœ œ Jœ Jœ Jœ JœQaQa
uu
aa
hoho
hoho
hoho
haha
œ œ œ œgadgad
momo
mimi
kiki
whoho
∑
˙ ˙vovo
hoho
wvovo
œ Ó .hoho
œ Ó .desdes
œ Ó .hoho
∑
.œ ‰ Óhohowhoho
∑
∑
∑
∑
œ œ œ œSalSal
aa
brabra
SuSuw
∑
∑
∑
œ œ œ œnvovo
dede
lala
haha
˙ ˙mismis
dadaw
∑
∑
∑
Jœ Jœ Jœb Jœ Jœ Jœ œhaha
uu
aa
haha
hoho
hoho
hoho
˙ ˙ZaZa
fifi
˙ ˙vovo
hoho
∑
∑
∑
œ Ó .hoho
œ Ó .ToTo
œ Ó .hoho
∑
.œ Jœ ˙vovo
didi
lolo
wvovo
∑
∑
∑
∑
œ Ó .hohowhoho
~~~
~~~~~~
~~~~~~
~~
~~
~~~
- -- - - -
- - - -
- - - - - -
- - - -
~~
~~
375
V
V
?
V
V
?
bb
b b
b b
b b
b b
b b
∑
∑
∑
∑
œ œ œ œSalSal
aa
brebre
SuSuw
∑
∑
∑
∑
.œ ‰ Ómismis˙ œ œhoho
hoho
hoho
∑
∑
∑
∑
œ Jœ Jœ œ œ œvoQvoQ
dada
dada
ZaZa
fifi
whoho
Jœ Jœ œ ˙QaQa
ii
aa
hoho
˙ ˙oo
hoho
wvovo
∑
œ Ó .TaTa
œ Ó .hoho
Jœ Jœ Jœ Jœ Jœ Jœ œhaha
ii
aa
haha
haha
hoho
hoho
.œ ‰ Óhohowhoho
∑
∑
∑
.œ ‰ Óhoho
œ œn .œ œb œgawygawy
dede
baba
dadaw
∑
∑
∑
~~~ ~~~~
~~~~~~~- -
- - - - - -
- -
- - - - - -
~~~~
376
V
V
?
V
V
?
bb
b b
b b
b b
b b
b b
n n #
n n #
n n #
n n #
n n #
n n #
42
42
42
42
42
42
œ œ ˙vovo
dede
lala
˙ ˙CaCa
momo. .˙ Jœ
hoho
ii
∑
∑
∑
˙ œ# œnhaha
hoho
hoho
˙ ˙varvar
dede
woo
∑
∑
∑
œ Ó .hoho
œ Ó .soso
œ Ó .hoho
∑
.œ Jœ ˙vovo
didi
lala
wvovo
∑
∑
∑
∑
œ Ó .hehewhoho
∑
∑
∑
∑
œ œ œ œgawygawy
dede
baba
dadaw
∑
∑
∑
œ œ œ œnvovo
dede
lala
dada
œ Ó .CaCa.˙ œnhoho
hoho
∑
∑
∑
˙ Jœ# Jœn Jœ Jœhaha
hoho
hoho
hoho
haha
.œ Jœ Jœ Jœn œCaCa
momo
vava
rr
dede
whoho
~ ~
~~~
- - - -
- - - - - - -
- - - -
- - - - - - -
~ ~
~~~
377
V
V
?
V
V
?
#
#
#
#
#
#
42
42
42
42
42
42
44
44
44
44
44
44
42
42
42
42
42
42
44
44
44
44
44
44
# #
# #
# #
# #
# #
# #
42
42
42
42
42
42
∑
˙vovo
˙vovo
œ Œhoho
œ Œbaba
œ Œhoho
∑
œ œ œ œTavTav
dada
RmaRma
dada
˙ ˙hoho
∑
∑
∑
Allegro A132
∑
œ œ œ œmimi
disdis
mdimdi
nana˙ ˙
hoho
∑
∑
∑
∑
œ Œrere
œ Œhoho
˙QaQa
˙vovo
˙vovo
∑
∑
∑
œ œ œ œii
aa
hoho
hoho
œ œ œ œTavTav
dada
RmaRma
dada
˙ ˙hoho
∑
∑
∑
œ Ó .ho.ho.
œ œ œ œ#mimi
disdis
mdimdi
nana˙ ˙
hoho
~~~~~
~~~~~
~~~~~- - - - -
- - - - -
- - - - -
- - - - -
~~~~~~
~~~~~~
378
V
V
?
V
V
?
##
# #
# #
# #
# #
# #
42
42
42
42
42
42
# # # # #
# # # # #
# # # # #
# # # # #
# # # # #
# # # # #
44
44
44
44
44
44
42
42
42
42
42
42
44
44
44
44
44
44
42
42
42
42
42
42
∑
˙#voQvoQ
˙vovo
∑
œ# Œrere
œ Œhoho
∑
œ œ œ œee
ZeZe
besbes
dadaw
hoho
∑
∑
∑
molto accelerando al fine - A140 DF A168
œ œ œ œvoQvoQ
dada
hoho
hoho
œ œ œ œWiWi
lislis
nana
vivi˙ ˙
hoho
∑
∑
∑
œ Œhoho
œ ŒToTo
œ Œhoho
∑
˙voQvoQ
˙vovo
∑
∑
∑
∑
œ œ œ œee
ZeZe
besbes
dadaw
hoho
∑
∑
∑
∑
œ œ œ œWiWi
lislis
nana
vivi˙ ˙
hoho
hoho
~~~~~
~~~~~
~~~~~
- - - - -
- - - - -
- - - - -
- - - - -
~~~~~~
~~~~~
379
V
V
?
V
V
?
### # #
# # # # #
# # # # #
# # # # #
# # # # #
# # # # #
42
42
42
42
42
42
44
44
44
44
44
44
42
42
42
42
42
42
44
44
44
44
44
44
42
42
42
42
42
42
˙QaQa
˙vovo
˙vovo
∑
œ ŒToTo
œ Œhoho
œ œ œ œhoQhoQ
dada
hoho
hoho
œ œ œ œii
povpov
nesnes
dadaw
hoho
∑
∑
∑
Jœ Jœ Jœ Jœ Jœ Jœ œhaha
uu
aa
dada
hoho
hoho
hoho
.œ Jœ œ œgaga
momo
aa
TriTri˙ ˙
hoho
∑
∑
∑
œ Œhoho
œ Œeses
œ Œhoho
∑
˙vovo
˙vovo
∑
∑
∑
∑
œ œ œ œii
popo
vesves
dadaw
hoho
∑
∑
∑
∑
œ œ œ œgaga
momo
aa
TriTri˙ ˙
hoho
hoho
~~~~~
~~~
~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~- - - - - -
- - - - - -
- - - - - -
- - - - - -
~~~~~~
380
V
V
?
V
V
?
### # #
# # # # #
# # # # #
# # # # #
# # # # #
# # # # #
42
42
42
42
42
42
44
44
44
44
44
44
42
42
42
42
42
42
44
44
44
44
44
44
42
42
42
42
42
42
˙haha
˙vovo
˙vovo
∑
œ Œeses
œ Œhoho
œ œ œ Jœ Jœhoho
uaua
hoho
dede
lolo
œ œ œ œ œii
titi
rara
dadaw
hoho
∑
∑
∑
œ œ œ œhaha
hoho
hoho
œ œ œ œyoyo
velvel
mama
sulsul˙ ˙
hoho
∑
∑
∑
œ Œhoho
œ Œmama
œ Œhoho
∑
˙vovo
˙vovo
∑
∑
∑
∑
œ œ œ œii
titi
rara
dadaw
hoho
∑
∑
∑
∑
œ œ œ œyovyov
ladlad
momo
sulsul˙ ˙
hoho
hoho
- - - - - -
~~~~~- - - - -
- - - -- -
- - - - -
~~~~~
~~~~~
~~~~~
~~~~~
381
V
V
?
V
V
?
### # #
# # # # #
# # # # #
# # # # #
# # # # #
# # # # #
42
42
42
42
42
42
44
44
44
44
44
44
42
42
42
42
42
42
44
44
44
44
44
44
˙QaQa
˙vovo
˙vovo
∑
˙mama
˙hoho
œ œ ˙hoho
QaQa
ho.ho.
who.ho.whoho
∑
who.ho.whoho
∑
∑
˙hoho
∑
∑
˙hoho
∑
∑
˙ ˙hoho
hoho
∑
∑
˙ ˙hoho
hoho
∑
∑
˙ ˙#hoho
hoho
∑
∑
˙ ˙#
hoho
hoho
∑
∑
who.ho.
∑
∑
who.ho.
~~~~~
~~~~~~~~~~~~~~~
~~~~~~~~~~~~~
~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~
~~~~~~~~~~~~~~
382
V
V
?
bbb b b b b
b b b b b b b
b b b b b b b
44
44
44
45
45
45
44
44
44
n n b b b b b
n n b b b b b
n n b b b b b
∑
∑
œ œ ˙aa
didi
lala
Adagio A73
.˙ Óvovo
.˙ Óvovo
.˙ Óhaha
∑
∑
.Jœ œ Rœ ˙aa
didi
lala
œ Rœ Rœ Rœ Rœ Rœ Rœ Rœ Jœ ‰ .vovo
didi
lala
vovo
dede
didi
lala
vovo
œ Rœ Rœ Rœ Rœ .Jœ Jœ ‰ .vovo
didi
lala
vovo
dede
lala
˙ .Jœ Jœ ‰ .haha
dede
lala
U
U
U
Jœ Rœ Rœ œ Jœ Rœ Rœ Jœ ‰dede
didi
lala
vovo
dimdim
didi
lala
vovo
.Jœ Rœ Jœ Jœ Jœ Jœ Rœ Rœ Rœ Rœdede
lili
vovo
ii
didi
lala
vovo
dede
lili
aa
.Jœ Rœ Jœ Rœ Rœ Jœ Jœ .Jœ Rœhehe
aa
vava
hehe
aa
vava
haha
hehe
aa
V
V
?
bbb b b
b b b b b
b b b b b
43
43
43
44
44
44
n n b b b
n n b b b
n n b b b
.œ jœ .Jœ Rœ œdede
lala
nana
nini
nana
œ Rœ Rœ Rœrœ jœ jœ œ
dede
lili
aa
vovo
nana
nini
nana
.œ Jœ .Jœ Rœ œhaha
ii
aa
didi
lala
˙ Œhaha
˙ Œdada
˙ Œhaha
U
U
U
∑
∑
.Jœ Rœ .Jœ Rœ Jœ Jœ Jœ Jœdede
lili
vovo
dede
lili
vovo
didi
lala
œ Rœ Rœ Rœ Rœ Jœ Rœ Rœ .Jœ Rœhaha
didi
lala
vovo
dimdim
didi
lala
hoho
dede
∑
Jœ ‰ Rœ Rœ Rœ Rœ Jœ Jœ œhaha
aa
didi
lala
dada
haha
nini
nana
œ Œ Rœ Rœn Rœ Rœ Rœ Rœ Rœ Rœlala
vovo
dede
lili
aa
didi
lala
vovo
ii
.œ Jœ Jœn Jœ Rœ Rœ Jœvovo
ii
vovo
vovo
didi
lala
voQvoQ
.œ ‰ Jœ Jœ Jœn Rœ RœheQheQ
hehe
aa
vava
hehe
aa
~~~~
15. xelxvavi@@@@@
Khelkhvavi
imereTi
Imereti
383
V
V
?
bbb
b b b
b b b
n n n #
n n n #
n n n #
87
87
87
œ Ó .dede
.œ Jœ Jœ Œ .dede
lili
aa
.œ Jœ Jœ Œ .vava
didi
aa
∑
∑
.œ Jœ œ œaa
didi
laQlaQ
dada
Rœ Rœ Rœ Rœ .Jœ Rœ Rœ Rœ Rœ Rœ Rœ Rœ Jœ
ii
ruru
didi
lala
vovo
ii
ii
ruru
didi
lala
vovo
dede
lala
.œ ‰ Jœ Rœ Rœ Rœ Rœ Rœ Rœvovo
voQvoQ
didi
lala
vovo
dede
lili
aa
.œ ‰ Jœ Jœ Jœ Rœ Rœhehe
hehe
aa
vava
hehe
aa
.œ Jœ .jœn Rœ œdede
lala
nana
nini
nana
œ Rœ Rœ Rœ Rœ .jœn Rœ œ œdede
lili
aa
vovo
nana
nini
nana
.œ Rœ Rœ .Jœ Rœ œvoQvoQ
didi
lala
nana
didi
lala
.œ J¿ Ódada
ii
˙ Ódada
˙ Óhaha
~ ~
~~~~~
V
V
?
#
#
#
87
87
87
44
44
44
∑
∑
.œ œ Rœ Rœ Jœhehe
hehe
hehe
aa
vovo
Jœ Rœ Rœ Jœ ‰ Rœ Rœ Rœ Rœ Rœ Rœ Rœ RœuQuQ
didi
lala
vovo
didi
lala
vovo
didi
lala
vovo
didi
lala
.œ Jœ .Jœ Rœ Jœ Jœvovo
ii
nana
nini
nana
ii
.œ Jœ .Jœ Rœ œvava
haha
haha
didi
lala
Jœ Rœ Rœ Jœ ‰ Jœ Rœ Rœ œrimrim
didi
lala
vovo
dimdim
didi
lala
vovo
.œ Jœ .Jœ ≈ Œdede
lili
aa
.œ ‰ .Jœ Rœ Rœ Rœ Jœhehe
dede
aa
vava
didi
lala
Rœ Rœ Rœ Rœ Jœ Jœ Rœ Rœ Rœ Rœ Rœ Rœ Rœ Rœ
didi
lala
vovo
dede
lavlav
dada
aa
aa
dede
lolo
vovo
vovo
didi
lolo
.œ Jœ Rœ Rœ Rœ Rœ .Jœ ≈vovo
ii
didi
lala
vovo
dede
laQlaQ
.œ Jœ Jœ Rœ Rœ Rœ Rœ Rœ Rœdada
didi
dildil
didi
lala
aa
baba
dede
lala
384
V
V
?
#
#
#
43
43
43
# # #
# # #
# # #
44
44
44
œ Œ Rœ Rœ Rœ Rœ œdede
ii
ruru
didi
lala
vovo
œ Rœ Rœ Rœrœ .jœ rœ œ
dede
lili
aa
vovo
nana
nini
nana
.œ Jœ Rœ Rœ Jœ Jœ Jœnana
nini
didi
lala
voQvoQ
aa
vovo
Rœ Rœ Rœ Rœ .Jœ Rœ# .Jœ Rœ œvovo
didi
lala
vovo
ii
nana
nini
nana
. .œ Rœ .Jœrœ œ
haha
ii
nana
nini
nana
. .œ Rœ Jœ Jœ œhoho
vovo
haha
didi
lala
œ Ódada
˙ Œdada
˙ Œdada
∑
∑
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœsisi
coco
cxlescxles
TuTu
arar
mermer
CiCi
oo
~~~~~~
~~~~~- - - -- - - -
V
V
?
###
# # #
# # #
# # # #
# # # #
# # # #
œ Rœ Rœ Rœ Rœ Rœ Rœ Rœ Rœ Jœ Jœvovo
uu
aa
hoho
didi
lala
vovo
dede
lili
ee
∑
.œ Rœ Rœ .Jœ Rœ œvovo
didi
lala
haha
didi
lala
.Jœ Rœ Rœ ‰ . Jœ Jœ Rœ Rœ Jœvovo
dede
lala
vovo
dede
lili
aa
vovo
.œ Jœ Jœ Jœ Jœ Jœvovo
ii
vovo
dede
lili
aa
.œ ‰ .Jœ Rœ Jœ Rœ Rœhehe
hehe
aa
vava
hehe
aa
œ Rœ Rœ Rœ Rœ Rœ Rœ Rœ Rœ .Jœ Rœ
dede
lili
aa
vovo
ii
ruru
didi
lala
vovo
ii
.œ Jœ Jœ Œ .dede
lili
aa
.œ Jœ Jœ Œ .vava
haha
haha
385
V
V
?
### #
# # # #
# # # #
Jœ Rœ Rœ œ Jœ Rœ Rœ œdede
didi
lala
vovo
vovo
didi
lala
vovo
.Jœ Rœ .Jœ Rœ .Jœ Rœ œdede
lili
aa
ii
nana
nini
nana
œ Rœ Rœ Rœ Rœ œ Jœ Rœ Rœaa
baba
dede
lala
vaQvaQ
hehe
aa
vovo
Rœ Rœ Rœ Rœ Rœ Rœ Rœ Rœ Jœ Jœrœ Rœ Rœ Rœ
aa
baba
dede
lolo
vovo
dede
lala
vovo
dede
lala
aa
didi
lala
vovo
˙ Jœ œ œ ‰dede
lala
Jœ Jœ Rœ Rœ Jœ .Jœ Rœ Rœ Rœ Rœ Rœaa
haha
hehe
aa
vovo
haha
didi
lala
didi
lala
ii
œ Ó .dada
.œ Jœ œ .Jœ Rœaa
didi
laQlaQ
dada
.œ Jœ .Jœ Rœ Jœ ‰vava
haha
haha
didi
lala
V
V
?
### #
# # # #
# # # #
Rœ Rœ Rœ Rœ œ Rœ Rœ Rœ Rœ œ œ Rœ Rœoo
dede
lili
aa
vovo
didi
lala
vovo
dede
lili
aa
.Jœ Rœ Jœ Jœ Jœ œ Jœaa
baba
dede
lolo
vovo
dede
lala
.œ ‰ Jœ œ œ Jœ Jœvovo
voQvoQ
dede
lili
aa
Jœ Rœ Rœ Rœ Rœrœ# Rœ Rœ Rœ Rœ Rœ Rœ Rœ Jœ
vovo
didi
lala
vovo
dede
lala
vovo
aa
baba
dede
lolo
vovo
dede
lala
œ Rœ Rœjœ# .jœ rœ Jœ ‰
nana
nini
naQnaQ
aa
baba
dede
œ Rœ Rœ Rœ Rœ Jœ Jœ Jœ Jœ#nana
nini
nana
ii
vava
haha
hehe
hehe
.Jœ rœ# jœ ‰ ˙dede
lala
dada
hehe
.œ Jœ .Jœ Rœ œ#hehe
ii
nana
nini
nana
.œ Jœ .Jœ .Jœ Jœ#hehe
ii
vava
haha
haha
.˙ ¿hehe
a.a.
.˙ ¿hehe
a.a.
.˙ ¿hehe
a.a.
~~~~~
~~~~~
~~~~~
386
V
V
?
##
# #
# #
45
45
45
44
44
44
n n b
n n b
n n b
∑
jœ .jœ .œ œ œ œ .œ .jœ4
oo
hoho
vovo
hoho
∑
Adagio A67
˙ œ œQaQa
vovo
hoQhoQ
˙ Ó
wvovo
.œ ‰ Óhehe
.œ jœ œ œdede
lili
dede
lala
. .˙ ‰
œ Jœ Jœ œ œQaQa
vovo
hoho
hoQhoQ
dada
.˙ œvovo
. .˙ jœnvovo
hoho
∑
.œ jœ œ œnhoho
vovo
rere
rara
. .˙ ‰hoho
.Jœ Rœ Jœ Jœ Jœ Jœ Jœjœ
dede
lili
vovvov
dede
lili
vovvov
didi
laQlaQ
∑
wvovo
V
V
?
b
b
b
n # # #
n # # #
n # # #
# # # # #
# # # # #
# # # # #
∑
.Jœ Rœ .Jœrœ Jœ Rœ Rœ Jœ
rœ Rœdede
lili
vovo
dede
lili
vovo
vv
didi
lala
oo
w
.œ Jœ .Jœ Rœ Jœ Jœvovo
ii
vovo
riri
dede
lala
. .˙ jœvovo
hoho
whoho
.œ ≈ rœ œ jœ ‰nana
nini
naQnaQ
dada
. .œ rœ œ jœ ‰vovo
ii
aa
vovo
. .˙ ‰hoho
.œ Jœ .Jœ Rœ Jœ JœQaQa
oo
vovo
didi
lala
voQvoQ
∑
wvovo
∑
˙ jœ# jœ œvovo
vovo
hoho
hoho
˙ Jœ Jœ œ#hoho
hoho
hoho
16. naduri@@@@@
Naduri
imereTi
Imereti
387
V
V
?
### # #
# # # # #
# # # # #
n n n n n b b
n n n n n b b
n n n n n b b
n n # # #
n n # # #
n n # # #
.Jœ Rœ Jœjœ jœ jœ jœ jœ
dede
lili
vovvov
dede
lili
vovvov
dede
laQlaQ
∑
. .˙ jœhoho
hoho
∑
.jœ rœ .jœ rœ jœ jœ jœ jœdede
lili
vovo
dede
lili
vovo
didi
lala
. .˙ ‰hoho
˙ ˙QeQe
hehe
˙ Óvovo
wvovo
∑
˙ Jœ œ œ œ jœ jœvovo
hoho
hoho
hoho
hoho
. .˙ ‰hoho
œ œ Jœ Jœ Jœ ‰QaQa
hoho
vovo
hoho
hoho
Ó jœ jœ œvovo
hoho
hoho
. .˙ ‰vovo
V
V
?
###
# # #
# # #
n n n b b b b
n n n b b b b
n n n b b b b
45
45
45
n n n n
n n n n
n n n n
44
44
44
b
b
b
b b b b
b b b b
b b b b
œ œ .Jœ Rœ Jœ Jœ œQaQa
hoho
ii
vovo
hoho
hoho
œ jœ Jœjœ jœ œ
hoho
hoho
hoho
hoho
hoho
˙ Jœ Jœ Jœ ‰hoQhoQ
vovo
hoho
hoho
.œ ‰ Óhoho
.œ ‰ Óhoho
˙ .œ Jœvovo
hoho
hoho
∑
∑
˙ Jœ Jœ ˙vovo
hoho
hoho
˙ œ œQaQa
vovo
hoQhoQ
∑
whoho
.œ ‰ Ódada
.œ Jœ .Jœ Rœ Jœ Jœvovo
ii
dede
lili
dede
lala
. .˙ ‰
œ Jœ Jœ Jœ Jœ œQaQa
vovo
hoho
hoho
rere
rara
˙ Jœ Jœ œdede
lala
. .˙ Jœbvovo
hoho
∑
.œ Jœ œ œbhoho
vovo
dede
lala
. .˙ ‰hoho
388
V
V
?
bbb b
b b b b
b b b b
n n n n
n n n n
n n n n
# # #
# # #
# # #
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœdede
lili
vovvov
dede
lili
vovvov
didi
laQlaQ
∑
wvovo
∑
.Jœ Rœ .Jœ Rœ Jœ Jœ Jœ Rœ Rœdede
lili
vovo
dede
lili
vovvov
didi
lala
vovo
w
.œ Jœ .Jœ Rœ Jœ Jœvovo
ii
vovo
ii
dede
laQlaQ
. .˙ Jœvovo
vovo
. .˙ ‰hoho
.œ ‰ Jœ Jœ ŒnaQnaQ
nini
naQnaQ
.˙n Œhoho
.˙ Œvovo
.œ Jœ .œ œ Jœ JœQaQa
oo
hoho
hoho
hoQhoQ
∑
. .˙ ‰vovo
∑
˙ Jœ Jœ œvovo
vovo
hoho
hoho
˙ Jœ Jœ œ#hoho
hoho
hoho
V
V
?
###
# # #
# # #
# # # # #
# # # # #
# # # # #
n n n n #
n n n n #
n n n n #
n b b b b b
n b b b b b
n b b b b b
n b b b b
n b b b b
n b b b b
.Jœ Rœ Jœ Jœ Jœ Jœ Jœjœ
dede
lili
vovvov
dede
lili
vovvov
didi
laQlaQ
jœ Ó . .hoho
. .˙ Jœhoho
hoho
∑
.Jœ Rœ .Jœ Rœ Jœ Jœ Jœ Jœdede
lili
vovo
dede
lili
vovo
didi
lala
. .˙ ‰hoho
˙ ˙QeQe
hehe
˙ Óvovo
. .˙ Jœvovo
ii
∑
˙ Jœ Jœjœ jœ
vovo
vovo
hoho
rere
rara
whoho
œ œ Jœ Jœ Jœ ‰QaQa
hoho
vovo
hoho
hoho
Ó œ œdede
lolo
. .˙ ‰vovo
Jœ Jœ .Jœ Rœ Jœ Jœ œQaQa
haha
hoho
ii
vovo
hoho
hoho
œ œ Jœ Jœ œhoho
vovo
hoho
hoho
.œ Jœ Jœ Jœ œvovo
ii
vovo
hoho
hoho
389
V
V
?
bbb b
b b b b
b b b b
n n n b
n n n b
n n n b
Ó Rœ ≈ œ JœhaQhaQ
hoho
hoho
∑
.œ Jœ .œ Jœhoho
hoho
hoho
hoho
rœ œ Œii
oo
wQoQo
.œ Jœ .œ Jœhoho
hoho
hoho
hoho
‰ œ .Jœ ≈ Jœ ŒQaQa
hoho
QaQQaQ
. .˙ ‰hoho
.œ Jœ œ Œhoho
hoho
hoho
œ Jœ Jœ .œ ‰QaQa
haha
hoho
haha
œ œn ˙vovo
hoho
hoho
˙ .œ Jœnvovo
hoho
hoho
.Jœ Rœ Jœ Jœ Jœ Jœ Jœ Jœdede
lili
vovvov
dede
lili
vovvov
didi
laQlaQ
˙ Jœ Œ .hoho
. .˙ Jœhoho
hoho
a c c e l.
Ó .Jœ Rœ Jœ Jœ#QaQa
didi
lala
hoQhoQ
. .œ Rœ .Jœ Rœ Jœ Jœvovo
ii
vovo
didi
lala
vovo
. .˙ ‰hoho
V
V
?
b
b
b
n # # # # #
n # # # # #
n # # # # #
.œ ‰ œ# Rœ Rœ Jœ#dede
lala
vovo
dede
laQlaQ
Rœ# . .œ Óhoho
. .˙ Jœ#hoho
hoho
∑
œ œ œ œvovo
hoho
hoho
hoho
.˙ Œhoho
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœaa
baba
voQvoQ
didi
lala
vovvov
didi
laQlaQ
∑
wvovo
∑
.Jœ Rœ Jœ Jœ .Jœ Rœ Jœ Jœvava
rara
lala
ii
vovo
didi
lolo
ii
. .˙ ‰
.œ ‰ .Jœ Rœ Jœ œ œ RœvoQvoQ
QaQa
hoho
hoho
hoho
ii
˙ Jœ Œ .vovo
. .˙ Jœvovo
hoho
390
V
V
?
### # #
# # # # #
# # # # #
n n # # #
n n # # #
n n # # #
# # # # #
# # # # #
# # # # #
Jœ Jœ Jœ ‰ œ Jœ ‰vovo
hoho
hoho
hoho
hoho
˙ ˙vovo
hoho
œ œ .œn ‰hoho
hoho
hoho
Œ œ .Jœ Rœ Jœ ‰hoQhoQ
dede
lala
dada
.œ ‰ Óhoho
whoho
.œ Jœ .Jœ Rœ Jœ ‰dede
lili
dede
lala
dada
.œ Jœ .Jœ Rœ œdede
lili
dede
lala
dada
. .˙ Jœhoho
.Jœ Rœ Jœ Jœ Jœ Jœ Jœ Jœdede
lili
vovvov
dede
lili
vovvov
didi
laQlaQ
.œ Jœ .œ Jœdede
lili
dede
lala
. .˙ ‰hoho
œ Jœ ‰ .Jœ Rœ Rœ Rœ Rœ Rœ#voQvoQ
didi
vovo
riri
vovo
didi
lala
vovo
˙ .Jœ Rœ .Jœ Rœvovo
didi
lala
vovo
. .˙ Jœvovo
hoho
V
V
?
### # #
# # # # #
# # # # #
n n n n n
n n n n n
n n n n n
b b
b b
b b
.œ Jœ .Jœ Rœ Rœ Rœ JœQoQo
ii
vovo
ii
dede
lala
dada
jœ Ó . .hoho
. . .˙ Rœhoho
ii
∑
˙ .Jœ Rœ#jœ jœ
vovo
vovo
vovo
rere
rara
. .˙ Jœ#vovo
hoho
.œ ‰ Jœ Jœ .Jœ ≈QaQa
vovo
hoho
hoQhoQ
Ó Jœ Jœ .Jœ ≈vovo
hoho
hoho
. .˙ ‰hoho
Jœ ‰ œ œ œ .œ ‰vovo
hoho
hoho
Jœ ‰ .˙vovo
hoho
œ œ .œ ‰vovo
hoho
hoho
391
V
V
?
bb
b b
b b
n n
n n
n n
Œ œ .Jœ Rœ Jœ ‰hoQhoQ
dede
lala
dada
.Jœ ≈ Ó .hoho
œ œ ˙vava
haQhaQ
dada
.œ Jœ .Jœ Rœ Jœ ‰dede
lili
dede
lala
dada
.œ Jœ .Jœ Rœ Jœ ‰dede
lili
dede
lala
dada
.œ Jœ .Jœ Rœ œ œdede
lili
dede
lala
dada
.Jœ Rœ Jœ Jœ Jœ Jœ Jœ Jœdede
lili
vovvov
dede
lili
vovvov
didi
laQlaQ
.œ Jœ Jœ Jœ Jœ Jœdede
lili
dede
lovlov
didi
lala
. .˙ Rœ ≈dede
lala
Jœ ‰ .Jœ Rœ .Jœ Rœ Jœ Rœn ≈vovo
didi
lala
vovo
didi
lala
vovo
. . .˙ Rœvovo
hoho
. .˙ Jœvovo
hoho
˙ .Jœ Rœ Rœ Rœ JœQaQQaQ
vovo
ii
dede
lala
dada
Rœ . .œ Óhoho
. . .˙ Rœhoho
ii
V
V
?
45
45
45
∑
˙ .Jœ Rœ Jœ Jœvovo
vovo
ii
dede
lala
. .˙ Jœhoho
hoho
‰ œ ‰ Jœ Jœ Jœ ‰QaQQaQ
vovo
hoho
hoho
Ó .œ Rœ ≈vovo
hoho
. .˙ ‰hoho
œ œ œ œ ˙vovo
hoho
hoho
wvovo
œ œ ˙vovo
hoho
hoho
Jœ ‰ ∑ho.ho.
Jœ ‰ ∑hoho
˙ œ œb Jœ ‰hehe
hoho
hoho
hoho
a c c e l.
∑
Œ œ ˙b jœ ‰vovo
hoho
ho.ho.
˙ œ œb Jœ ‰QeQe
vovo
hoho
ho.ho.
392
V
V
?
bbb b b
b b b b b
b b b b b
44
44
44
∑
.jœ Rœ Jœ Jœ Jœ Jœ œ œ œ Jœnam
nam
ga
ga
li
li
Ce
Ce
mi
mi
kar
kar
gad
gad
Wris
Wris
∑
Adagio A73
∑
.Jœ Rœ œ œ œ Jœ Jœ œ œ Jœ JœSe
Se
ni
ni
nam
nam
ga
ga
li
li
bzi
bzi
nav
nav
so
so
∑
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœnam
nam
ga
ga
li
li
Ce
Ce
mi
mi
kar
kar
gad
gad
Wris
Wris
∑
˙ œ .Jœ Rœhe
he
he
he
ho
ho
i
i
.Jœ Rœ Jœ œ œ Jœ Jœ Jœ JœSe
Se
ni
ni
nam
nam
ga
ga
li
li
bzi
bzi
nav
nav
so
so
∑
.˙ œhe
he
a
a
- - - - - - - - -
- - - - - - - --
- - - - - - -- -
- - - - - - - - -
V
V
?
bbb b b
b b b b b
b b b b b
42
42
42
44
44
44
∑
.jœ Rœ Jœ Jœ Jœ Jœ œ œ œ Jœa
a
ru
ru
la
la
lo
lo
va
va
la
la
la
la
lo
lo
˙ œ .Jœ Rœhe
he
he
he
he
he
i
i
∑
Jœ Jœ œ œ Jœ Jœ œ œ œa
a
ra
ra
lo
lo
da
da
ha
ha
ra
ra
lo
lo
.˙ œha
ha
ha
ha
Jœ Rœ Rœ Jœ Jœ Jœ Jœ Jœ Jœdi
di
la
la
da
da
vo
vo
doQ
doQ
a
a
ra
ra
la
la
lo
lo
Ó Jœ Jœ Jœ Jœa
a
ra
ra
la
la
lo
lo
˙ œ .Jœ Rœhe
he
he
he
he
he
i
i
Jœ Jœ Jœ Rœ Rœ .Jœ Rœ Rœ Rœ Jœa
a
ra
ra
la
la
li
li
da
da
ha
ha
ri
ri
ha
ha
la
la
loQ
loQ
Jœ Jœ Jœ Rœ Rœ .Jœ Rœ Rœ Rœ Jœa
a
ra
ra
la
la
la
la
lo
lo
ha
ha
ri
ri
a
a
ra
ra
lo
lo
.œ ‰ œ œha
ha
a
a
ha
ha
˙he
he
˙he
he
˙he
he
17. namgluri@@@@@
Namgluri
imereTi
Imereti
393
V
V
?
bbb b b
b b b b b
b b b b b
44
44
44
∑
.jœ Rœ Jœ Jœ Jœ Jœ Jœ Rœ ≈an
an
du
du
ya
ya
far
far
mo
mo
na
na
di
di
re
re
∑
∑
.Jœ Rœ Jœjœ Jœ
jœ œcxe
cxe
ni
ni
cxens
cxens
ar
ar
mi
mi
xa
xa
loQ
loQ
∑
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Rœ ≈an
an
du
du
ya
ya
far
far
mo
mo
na
na
di
di
re
re
œ Ó .he
he
˙ œ .Jœ Rœhe
he
he
he
he
he
i
i
.Jœ Rœ Jœ œ œ Jœ Jœ Jœ Jœcxe
cxe
ni
ni
cxens
cxens
ar
ar
mi
mi
xa
xa
lo
lo
voQ
voQ
∑
.˙ Jœ ‰he
he
ho
ho
- - - - - - - - -
- - - - - - - - -
- - - - - - - - -
- - - - - - - - -
V
V
?
bbb b b
b b b b b
b b b b b
42
42
42
n n b b b
n n b b b
n n b b b
jœ Ó . .he
he
.jœ Rœ Jœ Jœ Jœ Jœ Jœ Rœ ≈o
o
ras
ras
Tum
Tum
nad
nad
cxe
cxe
ni
ni
mi
mi
Rirs
Rirs
˙ œ .Jœ Rœhe
he
he
he
he
he
Q
Q
∑
Jœ Jœ œ œ Jœ Jœ œ œ œda
da
o
o
ra
ra
sad
sad
av
av
Sa
Sa
ra
ra
.˙ Jœ ‰ho
ho
ho
ho
Jœ Rœ Rœ Jœ Jœ Jœ Jœ Jœ Jœdi
di
la
la
da
da
vo
vo
doQ
doQ
a
a
ra
ra
la
la
lo
lo
.œ ‰ œ œhe
he
vo
vo
hoQ
hoQ
˙ œ .Jœ Rœhe
he
he
he
he
he
i
i
Jœ Jœ Jœ Rœ Rœ .Jœ Rœ Rœ Rœ Jœa
a
ra
ra
la
la
li
li
da
da
ha
ha
ri
ri
ha
ha
la
la
loQ
loQ
Jœ Jœ Jœ Rœ Rœ .Jœ Rœ Rœ Rœ Jœa
a
ra
ra
ra
ra
la
la
lo
lo
a
a
ri
ri
va
va
ra
ra
lo
lo
.œ ‰ œ œha
ha
va
va
ha
ha
˙ho
ho
˙he
he
˙he
he
~~~~~~~~- - - - - - - -
- - - - - - - -
~~~~~~~~
394
V
V
?
bbb
b b b
b b b
Rœ .J¿ Œha
ha
RÔœ RÔœ.Jœ Œ
bi
bi
We
We
bo
bo
Œ J¿ J¿o
o
ho
ho
Andante A100 poco a poco accelerando al fine
Œ J¿ R¿ ≈ov
ov
xe
xe
Jœ Rœ ≈ Œov
ov
xe
xe
Œ J¿ R¿ ≈ov
ov
xe
xe
Œ J¿ R¿ ≈ov
ov
xe
xe
Jœ Rœ ≈ Œov
ov
xe
xe
Œ J¿ R¿ ≈ov
ov
xe
xe
Œ J¿ R¿ ≈ov
ov
xe
xe
Jœ Rœ ≈ Œov
ov
xe
xe
Œ J¿ R¿ ≈ov
ov
xe
xe
Œ J¿ R¿ ≈ov
ov
xe
xe
Jœ Rœ ≈ Œov
ov
xe
xe
Œ J¿ R¿ ≈ov
ov
xe
xe
Œ J¿ R¿ ≈he
he
ko
ko
jœ Rœ ≈ Œhe
he
ko
ko
Œ J¿ R¿ ≈he
he
ko
ko
Œ J¿ R¿ ≈he
he
ko
ko
jœ Rœ ≈ Œhe
he
ko
ko
Œ J¿ R¿ ≈he
he
ko
ko
~~~~~
~~~- -
- -
V
V
?
bbb
b b b
b b b
n n n # # # # #
n n n # # # # #
n n n # # # # #
46
46
46
42
42
42
Œ .J¿ ≈hau
hau
.Jœ ≈ Œhau
hau
Œ.J¿ ≈
hau
hau
Œ .J¿ ≈hau
hau
.Jœ ≈ Œhau
hau
Œ.J¿ ≈
hau
hau
Œ .J¿ ≈hau
hau
.Jœ ≈ Œhau
hau
Œ.J¿ ≈
hau
hau
∑ R¿ R¿ R¿ R¿# J¿ J¿ J¿3
o
o
ho
ho
ho
ho
ho
ho
ho
ho
ho
ho
ho
ho
.Rœ# RÔœ Rœ Rœ Rœ Rœ Rœ Rœ Rœ Rœ Rœ Rœ Rœ Rœ Jœ Óxe
xe
le
le
u
u
ri
ri
ga
ga
mo
mo
u
u
Re
Re
dab
dab
ma
ma
un
un
da
da
u
u
kve
kve
o
o
Ó . . ¿J¿
o
o
ho
ho
ho
ho
ho
ho
ho
ho
ho
ho
ho
ho
ho
ho
ho
ho
ho
ho
r e c i t.
~~~~~~~~~~~~~~~~~~~~~~~- - - - - - - - - -
- - - - - - - - - -
395
V
V
?
### # #
# # # # #
# # # # #
42
42
42
Œ J¿ R¿n ≈o
o
ho
ho
RÔœ# RÔœ Jœ Rœ Œbi
bi
We
We
bo
bo
ho
ho
‰ . ¿ ≈ho
ho
a tempo
Œ J¿ R¿ ≈av
av
xe
xe
Jœ Rœ ≈ Œav
av
xe
xe
Œ J¿ R¿ ≈av
av
xe
xe
Œ J¿ R¿ ≈av
av
xe
xe
Jœ Rœ ≈ Œav
av
xe
xe
Œ J¿ R¿ ≈av
av
xe
xe
Œ J¿ R¿ ≈av
av
xe
xe
Jœ Rœ ≈ Œav
av
xe
xe
Œ J¿ R¿ ≈av
av
xe
xe
Œ J¿ R¿ ≈he
he
ka
ka
Jœ rœ ≈ Œhe
he
ka
ka
Œ J¿ R¿ ≈he
he
ka
ka
Œ J¿ R¿ ≈he
he
ka
ka
Jœ rœ ≈ Œhe
he
ka
ka
Œ J¿ R¿ ≈he
he
ka
ka
~~~~~- -
- -
V
V
?
### # #
# # # # #
# # # # #
43
43
43
Œ J¿ R¿ ≈he
he
ka
ka
Jœ rœ ≈ Œhe
he
ka
ka
Œ J¿ R¿ ≈he
he
ka
ka
∑
Jœ Rœ ≈ Jœ Rœ ≈he
he
ka
ka
ho
ho
ka
ka
Œ J¿ R¿ ≈he
he
ka
ka
∑
Jœ Rœ ≈ Jœ Rœ ≈he
he
ka
ka
ho
ho
ka
ka
∑
∑
Jœ Rœ ≈ Jœ Rœ ≈he
he
ka
ka
ho
ho
ka
ka
R¿ R¿ R¿ ≈ J¿ ‰ho
ho
ho
ho
ho
ho
ho
ho
.¿ho
ho
ho
ho
ho
ho
ho
ho
ho
ho
ho
ho
ho.
ho.
Jœ ‰ Jœho
ho
ho
ho
ho
ho
ho
ho
ho
ho
ho
ho
ho
ho
ho.
ho.
Œ J¿ho
ho
ho
ho
ho
ho
ho
ho
ho
ho
ho
ho
ho.
ho.
~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~
396
V
V
?
bbb b b
b b b b b
b b b b b
44
44
44
∑
.œ Jœ œ œvo
vo
ho
ho
ho
ho
ho
ho
∑
Larghetto A63 poco a poco accelerando al fine
.Jœ Rœ .Jœ Rœ Jœ Jœ Jœ Jœsi
si
mind
mind
sa
sa
To
To
xna
xna
da
da
vu
vu
wyoT
wyoT
.Jœ Rœ .Jœ Rœ Jœ Jœ Jœ Jœsi
si
mind
mind
sa
sa
To
To
xna
xna
da
da
vu
vu
wyoT
wyoT
∑
œ œ Jœ Jœ .Jœ Rœvo
vo
ho
ho
vo
vo
ho
ho
ho
ho
ho
ho
.œ ‰ Jœ Jœ .Jœ Rœvo
vo
vo
vo
ho
ho
ho
ho
ho
ho
. . .˙ Rœvo
vo
ho
ho
œ œ ˙ho
ho
ho
ho
ho
ho
Jœjœ œ ˙
ho
ho
ho
ho
ho
ho
œ œ ˙ho
ho
ho
ho
ho
ho
- - - - -
- - - - -
- - - - -
- - - - -
V
V
?
bbb b b
b b b b b
b b b b b
.˙ œnvo
vo
ho
ho
.œ Jœ œ œvo
vo
ho
ho
ho
ho
ho
ho
who
ho
.Jœn Rœ .Jœ Rœ .Jœb Rœ Jœ Jœsi
si
mind
mind
sa
sa
To
To
xna
xna
da
da
vu
vu
wyoT
wyoT
.Jœ Rœ .Jœ Rœ .Jœ Rœ Jœ Jœsi
si
mind
mind
sa
sa
To
To
xna
xna
da
da
vu
vu
wyoT
wyoT
.Jœ Rœ .Jœ Rœ .Jœ Rœ Jœ Jœsi
si
mind
mind
sa
sa
To
To
xna
xna
da
da
vu
vu
wyoT
wyoT
˙ Jœ Jœ .Jœ Rœvo
vo
vo
vo
ho
ho
ho
ho
ho
ho
˙ jœ Jœ œvo
vo
vo
vo
ho
ho
ho
ho
. . .˙ Rœvo
vo
ho
ho
Jœ œ Jœ ˙ho
ho
ho
ho
ho
ho
.œ Jœ ˙ho
ho
ho
ho
ho
ho
.œ Jœ ˙ho
ho
ho
ho
ho
ho
- - - - -
- - - - -
- - - - -
- - - - -
- - - - -
- - - - -
18. naduri@@@@@
Naduri
I choir
II choir
leCxumi
Lechkhumi
397
V
V
?
bbb b b
b b b b b
b b b b b
Œ . Jœ œ Jœn ‰ho
ho
ho
ho
ho
ho
.œ Jœ œ œvo
vo
ho
ho
ho
ho
ho
ho
who
ho
Jœn Jœ .Jœ Rœ Jœb Jœ Jœ Jœer
er
Tad
Tad
dav
dav
Za
Za
xoT
xoT
mu
mu
Su
Su
ri
ri
Jœ Jœ .Jœ Rœ Jœ Jœ Jœ Jœer
er
Tad
Tad
dav
dav
Za
Za
xoT
xoT
mu
mu
Su
Su
ri
ri
Jœ Jœ .Jœ Rœ Jœ Jœ Jœ Jœer
er
Tad
Tad
dav
dav
Za
Za
xoT
xoT
mu
mu
Su
Su
ri
ri
˙ Jœ Jœ .Jœ Rœvo
vo
vo
vo
ho
ho
ho
ho
ho
ho
.œ ‰ jœ Jœ œvo
vo
vo
vo
ho
ho
ho
ho
. . .˙ Rœvo
vo
ho
ho
.œ Jœ .œ ‰ho
ho
ho
ho
ho
ho
.œ Jœ .œ ‰ho
ho
ho
ho
ho
ho
.œ Jœ ˙ho
ho
ho
ho
ho
ho
- - - - -
- - - - -
- - - - -
- - - - -
- - - - -
- - - - -
V
V
?
bbb b b
b b b b b
b b b b b
.œ Jœ œ œnvo
vo
ho
ho
ho
ho
ho
ho
.œ Jœ œ œvo
vo
ho
ho
ho
ho
ho
ho
who
ho
.Jœn Rœ .Jœ Rœ Jœb Jœ Jœ Jœer
er
Tad
Tad
dav
dav
Za
Za
xoT
xoT
mu
mu
Su
Su
ri
ri
.Jœ Rœ .Jœ Rœ Jœ Jœ Jœ Jœer
er
Tad
Tad
dav
dav
Za
Za
xoT
xoT
mu
mu
Su
Su
ri
ri
.Jœ Rœ .Jœ Rœ Jœ Jœ Jœ Jœer
er
Tad
Tad
dav
dav
Za
Za
xoT
xoT
mu
mu
Su
Su
ri
ri
˙ Jœ Jœ .Jœ Rœvo
vo
vo
vo
ho
ho
ho
ho
ho
ho
˙ jœ Jœ .Jœ Rœvo
vo
vo
vo
ho
ho
ho
ho
ho
ho
. . .˙ Rœvo
vo
ho
ho
Jœ œ Jœ ˙ho
ho
ho
ho
ho
ho
.œ Jœ .œ ‰ho
ho
ho
ho
ho
ho
.œ Jœ .œ ‰ho
ho
ho
ho
ho
ho
- - - - -
- - - - -
- - - - -
- - - - -
- - - - -
- - - - -
I choir
II choir
398
V
V
?
bbb b b
b b b b b
b b b b b
.œ Jœ œ Jœn ‰vo
vo
ho
ho
ho
ho
ho
ho
.œ Jœ œ Jœ ‰vo
vo
ho
ho
ho
ho
ho
ho
who
ho
.Jœn Rœ .Jœ Rœ Jœb Jœ Jœ Jœar
ar
i
i
qne
qne
ba
ba
Cve
Cve
ni
ni
job
job
na
na
.Jœ Rœ .Jœ Rœ Jœ Jœ Jœ Jœar
ar
i
i
qne
qne
ba
ba
Cve
Cve
ni
ni
job
job
na
na
. .œ Rœ Jœ Jœ Jœ Jœho
ho
ho
ho
Cve
Cve
ni
ni
job
job
na
na
œ Jœ Jœ Jœ Jœ .Jœ Rœvo
vo
di
di
la
la
vo
vo
ho
ho
ho
ho
ho
ho
.œ ‰ Jœ Jœ .Jœ Rœvo
vo
vo
vo
ho
ho
ho
ho
ho
ho
. . .˙ Rœvo
vo
ho
ho
.œ Jœ .œ ‰ho
ho
ho
ho
ho
ho
.œ Jœ .œ ‰ho
ho
ho
ho
.œ Jœ ˙ho
ho
ho
ho
ho
ho
- - - -
- - - -
- -
- - - -
- - - -
- -
V
V
?
bbb b b
b b b b b
b b b b b
.œ Jœ œ œnvo
vo
ho
ho
ho
ho
ho
ho
.œ Jœ œ œvo
vo
ho
ho
ho
ho
ho
ho
who
ho
.Jœn Rœ .Jœ Rœ Jœb Jœ Jœ Jœar
ar
i
i
qne
qne
ba
ba
Cve
Cve
ni
ni
job
job
na
na
.Jœ Rœ .Jœ Rœ Jœ Jœ Jœ Jœar
ar
i
i
qne
qne
ba
ba
Cve
Cve
ni
ni
job
job
na
na
.Jœ Rœ .Jœ Rœ Jœ Jœ Jœ Jœar
ar
i
i
qne
qne
ba
ba
Cve
Cve
ni
ni
job
job
na
na
˙ Jœ Jœ .Jœ Rœvo
vo
vo
vo
ho
ho
ho
ho
ho
ho
˙ jœ Jœ .Jœ Rœvo
vo
vo
vo
ho
ho
ho
ho
ho
ho
. . .˙ Rœvo
vo
ho
ho
Jœ œ Jœ ˙ho
ho
ho
ho
ho
ho
.œ Jœ ˙ho
ho
ho
ho
ho
ho
.œ Jœ ˙ho
ho
ho
ho
ho
ho
˙ Óho.
ho.
˙ Óho.
ho.
˙ Óho.
ho.
- - - -
- - - -
- - - -
- - - -
- - - -
- - - -
I choir
II choir
399
V
V
?
44
44
44
∑
.œ Jœ .œ Jœo
o
do
do
i
i
a
a
∑
Andante A80 poco a poco accelerando al fine
Jœ Jœ Jœ Jœ# Jœ œ œ Jœ Jœsi
si
minds
minds
var
var
CevT
CevT
ka
ka
lo
lo
ze
ze
da
da
Jœ œ œ# œ Jœ Jœ Jœ œ œ Jœ Jœ3
si
si
minds
minds
var
var
CevT
CevT
ka
ka
lo
lo
ze
ze
da
da
∑
.œ Jœ Jœ Jœ Jœn Jœo
o
do
do
o
o
do
do
i
i
a
a
.œ Jœ Jœ Jœ Jœ Jœo
o
do
do
o
o
do
do
i
i
a
a
˙ Jœ Jœ Jœ Jœo
o
o
o
do
do
i
i
a
a
.Jœ Rœ Jœ Jœ Jœ Jœ œo
o
ri
ri
vo
vo
ho
ho
o
o
ho
ho
ho
ho
.Jœ Rœ Jœjœ jœ jœ œ
o
o
ri
ri
vo
vo
ho
ho
o
o
ho
ho
ho
ho
.Jœ Rœ Jœ Jœ Jœ Jœ œo
o
ri
ri
vo
vo
ho
ho
o
o
ho
ho
ho
ho
- - - - - - - - -
- - -
- - - - -- - - -
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
- - -
V
V
?
.œ Jœ# .œ Jœo
o
do
do
i
i
a
a
.œ Jœ .œ Jœo
o
do
do
i
i
a
a
.œ Jœ .œ Jœo
o
do
do
i
i
a
a
Jœ Jœ Jœ Jœ# Jœ œ œ Jœ Jœsi
si
minds
minds
var
var
CevT
CevT
ka
ka
lo
lo
ze
ze
da
da
Jœ Jœ# Jœ Jœ Jœ œ œ Jœ Jœsi
si
minds
minds
var
var
CevT
CevT
ka
ka
lo
lo
ze
ze
da
da
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœsi
si
minds
minds
var
var
CevT
CevT
ka
ka
lo
lo
ze
ze
da
da
.œ Jœ Jœn Jœ Jœ Jœo
o
do
do
o
o
do
do
i
i
a
a
.œ ‰ Jœ Jœ Jœ Jœo
o
o
o
do
do
i
i
a
a
˙ Jœ Jœ Jœ Jœo
o
o
o
do
do
i
i
a
a
.Jœ Rœ Jœ Jœ Jœ Jœ œo
o
ri
ri
vo
vo
ho
ho
o
o
ho
ho
ho
ho
.Jœ Rœ Jœjœ jœ jœ œ
o
o
ri
ri
vo
vo
ho
ho
o
o
ho
ho
ho
ho
.Jœ Rœ Jœ Jœ Jœ Jœ œo
o
ri
ri
vo
vo
ho
ho
o
o
ho
ho
ho
ho
- - - - - - - - - - - -
- - -
- - - -- - - -- - - -
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
- - - -
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
19. odoia@@@@@
Odoia
I choir
II choir
leCxumi
Lechkhumi
400
V
V
?
.œ Jœ# .œ Jœo
o
do
do
i
i
a
a
.œ Jœ .œ Jœo
o
do
do
i
i
a
a
.œ Jœ .œ Jœo
o
do
do
i
i
a
a
Jœ Jœ Jœ œ# œ Jœ œ œ Jœ Jœbi
bi
Wo
Wo
un
un
da
da
da
da
gve
gve
xma
xma
ro
ro
Jœ Jœ Jœ œ œ œ Jœ Jœ œ œ œ Jœbi
bi
Wo
Wo
un
un
da
da
da
da
gve
gve
xma
xma
ro
ro
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœbi
bi
Wo
Wo
un
un
da
da
da
da
gve
gve
xma
xma
ro
ro
.œ Jœ Jœ Jœ Jœn Jœo
o
do
do
o
o
do
do
i
i
a
a
.œ Jœ Jœ Jœ Jœ Jœo
o
do
do
o
o
do
do
i
i
a
a
˙ Jœ Jœ Jœ Jœo
o
o
o
do
do
i
i
a
a
.Jœ Rœ Jœ Jœ Jœ Jœ œo
o
ri
ri
vo
vo
ho
ho
o
o
ho
ho
ho
ho
.Jœ Rœ Jœjœ jœ jœ œ
o
o
ri
ri
vo
vo
ho
ho
o
o
ho
ho
ho
ho
.Jœ Rœ Jœ Jœ Jœ Jœ œo
o
ri
ri
vo
vo
ho
ho
o
o
ho
ho
ho
ho
- - - - - - - - - - --
- - -- - - - -- - - -
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
V
V
?
.œ Jœ# .œ Jœo
o
do
do
i
i
a
a
.œ Jœ .œ Jœo
o
do
do
i
i
a
a
.œ Jœ .œ Jœo
o
do
do
i
i
a
a
Jœ Jœ Jœ Jœ# Jœ Jœ Jœ Jœbi
bi
Wo
Wo
un
un
da
da
da
da
gve
gve
xma
xma
ro
ro
Jœ Jœ Jœ Jœ Jœ œ œ Jœ Jœbi
bi
Wo
Wo
un
un
da
da
da
da
gve
gve
xma
xma
ro
ro
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœbi
bi
Wo
Wo
un
un
da
da
da
da
gve
gve
xma
xma
ro
ro
.œ Jœ Jœn Jœ Jœ Jœo
o
do
do
o
o
do
do
i
i
a
a
.œ ‰ Jœ Jœ Jœ Jœo
o
o
o
do
do
i
i
a
a
˙ Jœ Jœ Jœ Jœo
o
o
o
do
do
i
i
a
a
.Jœ Rœ Jœ Jœ Jœ Jœ œo
o
ri
ri
vo
vo
ho
ho
o
o
ho
ho
ho
ho
.Jœ Rœ Jœjœ jœ jœ œ
o
o
ri
ri
vo
vo
ho
ho
o
o
ho
ho
ho
ho
.Jœ Rœ Jœ Jœ Jœ Jœ œo
o
ri
ri
vo
vo
ho
ho
o
o
ho
ho
ho
ho
- - - - - - - - - - - -
- - -- - -- - - - - -
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
I choir
II choir
401
V
V
?
.œ Jœ# .œ Jœo
o
do
do
i
i
a
a
.œ Jœ .œ Jœo
o
do
do
i
i
a
a
.œ Jœ .œ Jœo
o
do
do
i
i
a
a
Jœ Jœ Jœ Jœ# Jœ Jœ Jœ Jœma
ma
gi
gi
e
e
rad
rad
Se
Se
ni
ni
i
i
yos
yos
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœma
ma
gi
gi
e
e
rad
rad
Se
Se
ni
ni
i
i
yos
yos
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœma
ma
gi
gi
e
e
rad
rad
Se
Se
ni
ni
i
i
yos
yos
.œ Jœ Jœ Jœ Jœn Jœo
o
do
do
o
o
do
do
i
i
a
a
.œ Jœ Jœ Jœ Jœ Jœo
o
do
do
o
o
do
do
i
i
a
a
˙ Jœ Jœ Jœ Jœo
o
o
o
do
do
i
i
a
a
.Jœ Rœ Jœ Jœ Jœ Jœ œo
o
ri
ri
vo
vo
ho
ho
o
o
ho
ho
ho
ho
.Jœ Rœ Jœjœ jœ jœ œ
o
o
ri
ri
vo
vo
ho
ho
o
o
ho
ho
ho
ho
.Jœ Rœ Jœ Jœ Jœ Jœ œo
o
ri
ri
vo
vo
ho
ho
o
o
ho
ho
ho
ho
- - - - - - - - - - --
- - -- - -- - - - - -
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
V
V
?
.œ Jœ# .œ Jœo
o
do
do
i
i
a
a
.œ Jœ .œ Jœo
o
do
do
i
i
a
a
.œ Jœ .œ Jœo
o
do
do
i
i
a
a
Jœ Jœ Jœ Jœ# Jœ Jœ Jœ Jœma
ma
gi
gi
e
e
rad
rad
Se
Se
ni
ni
i
i
yos
yos
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœma
ma
gi
gi
e
e
rad
rad
Se
Se
ni
ni
i
i
yos
yos
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœma
ma
gi
gi
e
e
rad
rad
Se
Se
ni
ni
i
i
yos
yos
.œ Jœ Jœn Jœ Jœ Jœo
o
do
do
o
o
do
do
i
i
a
a
.œ ‰ Jœ Jœ Jœ Jœo
o
o
o
do
do
i
i
a
a
˙ Jœ Jœ Jœ Jœo
o
o
o
do
do
i
i
a
a
.Jœ Rœ Jœ Jœ Jœ Jœ œo
o
ri
ri
vo
vo
ho
ho
o
o
ho
ho
ho
ho
.Jœ Rœ Jœjœ jœ jœ œ
o
o
ri
ri
vo
vo
ho
ho
o
o
ho
ho
ho
ho
.Jœ Rœ Jœ Jœ Jœ Jœ œo
o
ri
ri
vo
vo
ho
ho
o
o
ho
ho
ho
ho
- - - - - - - - - - - -
- - -- - -- - - - - -
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
I choir
II choir
402
V
V
?
.œ Jœ# .œ Jœo
o
do
do
i
i
a
a
.œ Jœ .œ Jœo
o
do
do
i
i
a
a
.œ Jœ .œ Jœo
o
do
do
i
i
a
a
Jœ Jœ Jœ Jœ# Jœ Jœ Jœ Jœrac
rac
ki
ki
na
na
xo
xo
ne
ne
dli
dli
ta
ta
ro
ro
Jœ Jœ Jœ Jœ Jœ œ œ Jœ Jœrac
rac
ki
ki
na
na
xo
xo
ne
ne
dli
dli
ta
ta
ro
ro
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœrac
rac
ki
ki
na
na
xo
xo
ne
ne
dli
dli
ta
ta
ro
ro
.œ Jœ Jœ Jœ Jœn Jœo
o
do
do
o
o
do
do
i
i
a
a
.œ Jœ Jœ Jœ Jœ Rœ ≈o
o
do
do
o
o
do
do
i
i
a
a
˙ Jœ Jœ Jœ Jœo
o
o
o
do
do
i
i
a
a
.Jœ Rœ Jœ Jœ Jœ Jœ œo
o
ri
ri
vo
vo
ho
ho
o
o
ho
ho
ho
ho
.Jœ Rœ Jœjœ jœ jœ œ
o
o
ri
ri
vo
vo
ho
ho
o
o
ho
ho
ho
ho
.Jœ Rœ Jœ Jœ Jœ Jœ œo
o
ri
ri
vo
vo
ho
ho
o
o
ho
ho
ho
ho
- - - - - - - - - -
- -- -- - - - - -
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
V
V
?
42
42
42
.œ Jœ# .œ Jœo
o
do
do
i
i
a
a
.œ Jœ .œ Jœo
o
do
do
i
i
a
a
.œ Jœ .œ Jœo
o
do
do
i
i
a
a
Jœ Jœ Jœ Jœ# Jœ Jœ Jœ Jœrac
rac
ki
ki
na
na
xo
xo
ne
ne
dli
dli
ta
ta
ro
ro
Jœ Jœ Jœ Jœ Jœ œ œ œ œ œ Jœrac
rac
ki
ki
na
na
xo
xo
ne
ne
dli
dli
ta
ta
ro
ro
Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœrac
rac
ki
ki
na
na
xo
xo
ne
ne
dli
dli
ta
ta
ro
ro
.œ Jœ Jœn Jœœ Jœ Jœo
o
do
do
o
o
do
do
i
i
a
a
.œ Jœ Jœ Jœ Jœ Jœo
o
do
do
o
o
do
do
i
i
a
a
˙ Jœ Jœ Jœ Jœo
o
o
o
do
do
i
i
a
a
.Jœ Rœ Jœ Jœ Jœ Jœ œo
o
ri
ri
vo
vo
ho
ho
o
o
ho
ho
ho
ho
.Jœ Rœ Jœjœ jœ jœ œ
o
o
ri
ri
vo
vo
ho
ho
o
o
ho
ho
ho
ho
.Jœ Rœ Jœ Jœ Jœ Jœ œo
o
ri
ri
vo
vo
ho
ho
o
o
ho
ho
ho
ho
˙ho.
ho.
˙ho.
ho.
˙ho.
ho.
- - - - - - - - - -
- -- -- - - - - -
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
I choir
I choir and II choir
403
V
V
?
V
V
?
bb
b b
b b
b b
b b
b b
89
89
89
89
89
89
44
44
44
44
44
44
œ œ .œ œvo
vo
de
de
la
la
da
da
∑
∑
∑
∑
∑
Adagio A73 poco a poco accelerando al fine
œ œ œ œvo
vo
de
de
li
li
a
a
∑
∑
∑
∑
∑
œ œ œ œvo
vo
de
de
la
la
da
da
∑
wvo
vo
∑
∑
∑
˙ ˙vo
vo
ho
ho
∑
˙ ˙ho
ho
∑
∑
∑
˙ Óho
ho
∑
˙ Óho
ho
.œ Jœ .œ Jœvo
vo
de
de
la
la
vo
vo
wvo
vo
wvo
vo
∑
∑
∑
.œ Jœ œ œha
ha
ho
ho
ho
ho
ho
ho
.˙ œho
ho
ho
ho
who
ho
∑
∑
∑
œ œ œ œvo
vo
de
de
li
li
a
a
œ œ œ œvo
vo
de
de
li
li
a
a
.˙ œho
ho
ho
ho
∑
∑
∑
œ œ ˙vo
vo
ho
ho
œ œ ˙vo
vo
ho
ho
˙ ˙ho
ho
ho
ho
~~~~~
20. naduri@@@@@
(usaxeluri)
Naduri
(Usakhelo village version)
I choir
II choir
leCxumi
Lechkhumi
404
V
V
?
V
V
?
bb
b b
b b
b b
b b
b b
˙ .Jœ Rœ œvo
vo
de
de
la
la
˙ Óvo
vo
wvo
vo
˙ Óho
ho
˙ Óho
ho
˙ Óho
ho
œ œ œ œvo
vo
ho
ho
ho
ho
ho
ho
∑
.˙ œho
ho
ho
ho
∑
∑
∑
œ œ œ œvo
vo
de
de
li
li
a
a
.˙ Jœjœ
vo
vo
de
de
la
la
who
ho
∑
∑
∑
˙ ˙vo
vo
ho
ho
˙ ˙vo
vo
ho
ho
˙ ˙ho
ho
ho
ho
∑
∑
∑
˙ Óho
ho
˙ Óho
ho
˙ Óho
ho
œ œ œ œvo
vo
de
de
la
la
da
da
wvo
vo
wvo
vo
∑
∑
∑
œ œ œ Œvo
vo
ho
ho
ho
ho
˙ Jœ Jœ œho
ho
ho
ho
ho
ho
who
ho
∑
∑
∑
œ œ œ œvo
vo
de
de
li
li
a
a
œ œ œ œvo
vo
de
de
li
li
a
a
.˙ œho
ho
ho
ho
∑
∑
∑
˙ ˙vo
vo
ho
ho
˙ ˙vo
vo
ho
ho
˙ ˙ho
ho
ho
ho
~~~
~~~~~
~~~~~
~~~
405
V
V
?
V
V
?
bb
b b
b b
b b
b b
b b
∑
∑
wvo
vo
˙ Óho
ho
˙ Óho
ho
˙ Óho
ho
œ œ ˙vo
vo
de
de
la
la
∑
.˙ œho
ho
ho
ho
∑
∑
∑
˙ ˙vo
vo
ho
ho
. .˙ Jœvo
vo
ho
ho
who
ho
∑
∑
∑
˙ ˙ho
ho
ho
ho
˙ ˙ho
ho
ho
ho
˙ ˙ho
ho
ho
ho
∑
∑
∑
˙ Óho.
ho.
˙ Óho.
ho.
˙ Óho.
ho.
œ œ ˙vo
vo
de
de
la
la
wvo
vo
wvo
vo
∑
∑
∑
.œ Jœ œ œvo
vo
ho
ho
ho
ho
ho
ho
˙ Jœ Œ .ho
ho
who
ho
∑
∑
∑
œ œ œ œvo
vo
de
de
li
li
a
a
œ œ œ œvo
vo
de
de
li
li
a
a
who
ho
∑
∑
∑
˙ ˙vo
vo
ho
ho
˙ ˙vo
vo
ho
ho
˙ ˙ho
ho
ho
ho
∑
∑
∑
who.
ho.
who.
ho.
who.
ho.
~~~~
~~~~~
~~~~~~~~~
~~~~
~~~~~
~~~~~~~~~
406
V
V
?
V
V
?
bbb b b
b b b b b
b b b b b
b b b b b
b b b b b
b b b b b
43
43
43
43
43
43
44
44
44
44
44
44
∑
˙ œvo
vo
ho
ho
∑
∑
∑
∑
Allegro A132
∑
˙ .œ œ œho
ho
ho
ho
∑
∑
∑
∑
.œ Jœ .œ Jœsi
si
mind
mind
sa
sa
Tox
Tox
.œ Jœ .œ Jœsi
si
mind
mind
sa
sa
Tox
Tox
. .˙ Jœvo
vo
ho
ho
∑
∑
∑
.œ Jœ œ Jœ ‰na
na
da
da
vu
vu
wyoT
wyoT
.œ Jœ œ Jœ ‰na
na
da
da
vu
vu
wyoT
wyoT
who
ho
∑
∑
∑
œ œ œ œvo
vo
de
de
li
li
a
a
œ œ œ œvo
vo
de
de
li
li
a
a
wvo
vo
∑
∑
∑
œ œ Jœ Jœ Jœ Jœdi
di
la
la
vo
vo
de
de
la
la
vo
vo
.œ Jœ Jœ Jœ Jœ Jœdi
di
la
la
vo
vo
di
di
la
la
vo
vo
. .˙ Jœho
ho
∑
∑
∑
.œ Jœ œ œho
ho
ho
ho
ho
ho
ho
ho
œ jœ Jœ œ œho
ho
ho
ho
ho
ho
ho
ho
.˙ œho
ho
ho
ho
∑
∑
∑
who
ho
who
ho
who
ho
∑
∑
∑
- - - - -
- - - - -
- - - - -
- - - - -
21. Zveli naduri@@@@@
(usaxeluri)
Old Naduri
(Usakhelo village version)
I choir
II choir
leCxumi
Lechkhumi
407
V
V
?
V
V
?
bbb b b
b b b b b
b b b b b
b b b b b
b b b b b
b b b b b
˙ Óho
ho
˙ Óho
ho
˙ Óho
ho
.˙ œnvo
vo
ha
ha
.˙ œvo
vo
ho
ho
wvo
vo
∑
∑
∑
.œ Jœn œ Jœ ‰ha
ha
ha
ha
ho
ho
ho
ho
˙n ˙ho
ho
ho
ho
w
∑
∑
∑
œ œn .œ Jœvo
vo
de
de
la
la
Tox
Tox
œ œ .œb Jœsi
si
mind
mind
sa
sa
Tox
Tox
. .˙ Jœho
ho
∑
∑
∑
.œb œ œ œ œna
na
da
da
vo
vo
ho
ho
.œ Jœ œ Jœ ‰na
na
da
da
vu
vu
wyoT
wyoT
who
ho
∑
∑
∑
œ œ œ Œvo
vo
ho
ho
ho
ho
œ œ œ œvo
vo
de
de
la
la
da
da
wvo
vo
∑
∑
∑
.œ œ œ Jœ Jœ Jœ Jœde
de
la
la
vo
vo
di
di
la
la
vo
vo
œ œ Jœ Jœ Jœ Jœdi
di
la
la
vo
vo
di
di
la
la
vo
vo
. .˙ Jœho
ho
∑
∑
∑
œ Jœ Jœ œ œvo
vo
ho
ho
ho
ho
ho
ho
ho
ho
œ jœ Jœ œ œvo
vo
ho
ho
ho
ho
ho
ho
ho
ho
.˙ œho
ho
ho
ho
∑
∑
∑
who
ho
who
ho
who
ho
-
-
-
-
-
-
-
-
-
-
-
-
-
-
408
V
V
?
V
V
?
bbb b b
b b b b b
b b b b b
b b b b b
b b b b b
b b b b b
wvo
vo
.˙ œvo
vo
ho
ho
wvo
vo
˙ Óho
ho
˙ Óho
ho
˙ Óho
ho
˙ .œn Rœ Rœha
ha
di
di
la
la
˙n ˙ho
ho
ho
ho
w
∑
∑
∑
.œ Rœ Rœn .œ Jœho
ho
di
di
la
la
vo
vo
de
de
.œ Jœn .œ Jœmo
mo
gvi
gvi
va
va
mo
mo
. .˙ Jœho
ho
∑
∑
∑
œ Jœ Jœ œ Œla
la
ho
ho
ho
ho
ho
ho
œb œ œb œsa
sa
va
va
li
li
o
o
who
ho
∑
∑
∑
˙ œb Jœ ‰di
di
la
la
ho
ho
œ œ œ œi
i
ru
ru
di
di
la
la
wvo
vo
∑
∑
∑
.œ Jœ Jœ Jœ Jœ Jœva
va
ha
ha
ho
ho
di
di
la
la
vo
vo
.œ Jœ Jœn Jœ Jœ Jœdi
di
la
la
vo
vo
di
di
la
la
vo
vo
. .˙ Jœho
ho
∑
∑
∑
œ Jœ Jœ œ œho
ho
ho
ho
ho
ho
ho
ho
œ jœ Jœ œ œho
ho
ho
ho
ho
ho
ho
ho
.˙ œho
ho
ho
ho
∑
∑
∑
who
ho
who
ho
who
ho
∑
∑
∑
- - - - - -
- - - - - -
409
V
V
?
V
V
?
bbb b b
b b b b b
b b b b b
b b b b b
b b b b b
b b b b b
˙ Óho.
ho.
˙ Óho.
ho.
˙ Óho.
ho.
.˙ œnvo
vo
de
de
.˙ œvo
vo
ho
ho
wvo
vo
∑
∑
∑
œ œn œ Jœ ‰li
li
a
a
ho
ho
ho
ho
˙n .œ ‰ho
ho
ho
ho
w
∑
∑
∑
.œ Jœn .œ Jœvo
vo
de
de
la
la
da
da
.œ Jœ .œb Jœmo
mo
gvi
gvi
va
va
mo
mo
. .˙ Jœho
ho
∑
∑
∑
.œb Rœ Rœ œ œde
de
la
la
da
da
na
na
na
na
.œ Jœ œ Jœ ‰sa
sa
va
va
li
li
a
a
who
ho
∑
∑
∑
œ œ œ Œvo
vo
ho
ho
ho
ho
œ œ œ œvo
vo
de
de
la
la
da
da
wvo
vo
∑
∑
∑
œ œ Jœ Jœ Jœ Jœvo
vo
de
de
li
li
a
a
vo
vo
ho
ho
œ œ Jœ Jœ Jœ Jœdi
di
la
la
vo
vo
di
di
la
la
vo
vo
. .˙ Jœho
ho
∑
∑
∑
œ Jœ Jœ œ œvo
vo
ho
ho
ho
ho
ho
ho
ho
ho
œ jœ Jœ œ œvo
vo
ho
ho
ho
ho
ho
ho
ho
ho
.˙ œho
ho
ho
ho
∑
∑
∑
who
ho
who
ho
who
ho
∑
∑
∑
who.
ho.
who.
ho.
who.
ho.
-
-
-
-
-
-
-
-
-
-
-
-
~~~~~~~
~~~~~~~
~~~~~~~
410
V
V
?
44
44
44
∑
œ œ œ œo
o
CeS
CeS
xveQ
xveQ
do
do
∑
Adagio A73
∑
œ œ œ œ œ jœ ‰xvav
xvav
ri
ri
e
e
li
li
∑
r i t.
.œ Jœ .œ Jœvo
vo
ho
ho
ho
ho
ho
ho
.œ Jœ .œ Jœvo
vo
ho
ho
ho
ho
ho
ho
.œ Jœ .œ Jœvo
vo
ho
ho
ho
ho
ho
ho
a tempo
œ Jœ Jœ .œ Rœ Rœho
ho
ho
ho
ho
ho
ho
ho
re
re
ro
ro
œ jœ ‰ .œ Rœ Rœho
ho
ho
ho
ho
ho
re
re
ro
ro
œ Jœ Jœ .œ Rœ Rœho
ho
ho
ho
ho
ho
ho
ho
re
re
ro
ro
poco a poco accelerando
œ œ .œ Jœdi
di
laQ
laQ
va
va
di
di
œ œ .œ jœdi
di
laQ
laQ
va
va
di
di
œ œ œ œdi
di
laQ
laQ
vaQ
vaQ
di
di
.œ Jœb Jœ Jœ Rœbrœ rœ ≈
la
la
vu
vu
de
de
laQ
laQ
va
va
di
di
laQ
laQ
.œ Jœ Jœb Œ .la
la
vu
vu
da
da
.œ Jœ Jœ Jœ Rœb Rœjœ
la
la
vu
vu
de
de
laQ
laQ
va
va
di
di
laQ
laQ
- - - - -
- - - - -
V
V
?
.œ Jœ œn œ œbvo
vo
i
i
vo
vo
de
de
˙ œ œb œvo
vo
da
da
de
de
˙ œn Jœ ‰vo
vo
da
da
de
de
œ œ .œ Jœli
li
vo
vo
di
di
la
la
œ Jœb ‰ œ œvo
vo
ho
ho
ho
ho
ho
ho
œ œ œ œli
li
vo
vo
di
di
la
la
˙ ˙vo
vo
ho
ho
.œn ‰ ˙ho
ho
ho
ho
˙ ˙vo
vo
ho
ho
˙ œ Œho
ho
ho
ho
˙ ˙ho
ho
ho
ho
˙ ˙ho
ho
ho
ho
˙ ˙ho
ho
ho
ho
.œ Jœ ˙ho
ho
ho
ho
ho
ho
˙ ˙ho
ho
ho
ho
.˙ Œho
ho
.˙ Œho
ho.˙ Œho
ho
22. oCeSxveQ@@@@@
Ocheshkhvei
samegrelo
Samegrelo
411
V
V
?
∑
œ œ œ œxe
xe
s
s
mo
mo
u
u
∑
Andante A88
∑
œ œ œ œ œ jœ ‰xva
xva
ri
ri
e
e
li
li
∑
.œ Jœ .œ Jœvo
vo
ho
ho
ho
ho
ho
ho
.œ Jœ .œ Jœvo
vo
ho
ho
ho
ho
ho
ho
˙ ˙vo
vo
ho
ho
œ Jœ Jœ .œ Rœ Rœho
ho
ho
ho
ho
ho
ho
ho
de
de
lo
lo
œ jœ ‰ .œ Rœ Rœho
ho
ho
ho
ho
hoho
de
de
lo
lo
œ Jœ Jœ ˙ho
ho
ho
ho
ho
ho
ho
ho
œ œ .œ Jœdi
di
laQ
laQ
va
va
di
di
œ œ .œ jœdi
di
laQ
laQ
va
va
di
di
œ œ œ œdi
di
laQ
laQ
vaQ
vaQ
di
di
.œ Jœb œ Œla
la
vu
vu
da
da
.œ Jœ œb Œla
la
vu
vu
da
da
.œ Jœ Jœ Jœ Rœb Rœjœ
la
la
vu
vu
de
de
laQ
laQ
va
va
di
di
laQ
laQ
- - - - -
-- - - -
V
V
?
43
43
43
44
44
44
.œ Jœ œn œ œbvo
vo
i
i
vov
vov
de
de
˙ œ Jœb jœvo
vo
dav
dav
de
de
la
la
˙ œn Jœ ‰vo
vo
da
da
de
de
œ œ .œ Jœli
li
vo
vo
di
di
la
la
œ Jœb ‰ œ œa
a
ba
ba
vo
vo
ho
ho
œ œ œ œli
li
vo
vo
di
di
la
la
˙ ˙vo
vo
ho
ho
.œn ‰ ˙ho
ho
ho
ho
˙ ˙vo
vo
ho
ho
˙ ˙ho
ho
ho
ho
˙ ˙ho
ho
ho
ho
˙ ˙ho
ho
ho
ho
˙ ˙ho
ho
ho
ho
.œ Jœ ˙ho
ho
ho
ho
ho
ho
˙ ˙ho
ho
ho
ho
.˙ho
ho
.˙ho
ho.˙ho
ho
-
-
412
V
V
?
44
44
44
∑
˙ ˙xem
xem
xvaQ
xvaQ
∑
a c c e l.
∑
œ œ œ œ œ Jœ ‰va
va
ri
ri
e
e
li
li
∑
.œ Jœ .Jœ Rœ Jœ Jœvo
vo
ri
ri
vo
vo
ri
ri
ra
ra
vo
vo
.œ Jœ .Jœ Rœ Jœ Jœvo
vo
ri
ri
vo
vo
ri
ri
ra
ra
vo
vo.œ Jœ .Jœ Rœ Jœ Jœvo
vo
ri
ri
vo
vo
ri
ri
ra
ra
vo
vo
Andante A100
˙ œ œ Jœ ‰ho
ho
re
re
ra
ra
˙ œ œ jœ ‰ho
ho
re
re
ra
ra
˙ œ Jœ ‰ho
ho
re
re
ra
ra
.œ Jœ œ œ œ œvo
vo
ri
ri
vo
vo
ho
ho
.œ Jœ œ œvo
vo
ri
ri
vo
vo
ho
ho
.œ Jœ œ œvo
vo
ri
ri
vo
vo
ho
ho
˙ Jœ Jœ Jœ Jœho
ho
vo
vo
de
de
li
li
a
a
.œ ‰ Jœ Jœ Jœ Jœho
ho
vo
vo
de
de
li
li
a
a.œ ‰ Jœ Jœ Jœ Jœho
ho
vo
vo
de
de
li
li
a
a
œ œ œ œ .œ ‰vo
vo
ho
ho
ho
ho
œ œ œ œ .œ ‰vo
vo
ho
ho
ho
ho
œ œ .œ ‰vo
vo
ho
ho
ho
ho
- - - - -
- -- - -
V
V
?
∑
œ œ œ œCqin
Cqin
no
no
de
de
fi
fi
∑
a c c e l.
∑
œ œ œ œ œ Jœ ‰ta
ta
ri
ri
e
e
li
li
∑
.œ Jœ .Jœ Rœ Jœ Jœvo
vo
ri
ri
vo
vo
ri
ri
ra
ra
vo
vo
.œ Jœ .Jœ Rœ Jœ Jœvo
vo
ri
ri
vo
vo
ri
ri
ra
ra
vo
vo.œ Jœ .Jœ Rœ Jœ Jœvo
vo
ri
ri
vo
vo
ri
ri
ra
ra
vo
vo
a tempo
˙ œ œ Jœ ‰ho
ho
re
re
ra
ra
˙ œ œ jœ ‰ho
ho
re
re
ra
ra
˙ œ Jœ ‰ho
ho
re
re
ra
ra
.œ Jœ œ œ œ Jœ ‰vo
vo
ri
ri
vo
vo
ho
ho
.œ Jœ œ œvo
vo
ri
ri
vo
vo
ho
ho
.œ Jœ œ œ œvo
vo
ri
ri
vo
vo
ho
ho
œ Œ Jœ Jœ Jœ Jœho
ho
vo
vo
de
de
li
li
a
a
.œ ‰ Jœ Jœ Jœ Jœho
ho
vo
vo
de
de
li
li
a
a˙ Jœ Jœ Jœ Jœho
ho
vo
vo
de
de
li
li
a
a
œ œ œ œ .œ ‰vo
vo
ho
ho
ho
ho
œ œ œ œ .œ ‰vo
vo
ho
ho
ho
ho
œ œ .œ ‰vo
vo
ho
ho
ho
ho
- - - - -
-- - - -
413
V
V
?
V
V
?
Jœ Jœ œ Óvo
vo
re
re
ra
ra
Jœ Jœ œ .Jœ Rœ Jœjœ
vo
vo
re
re
ra
ra
vo
vo
re
re
ra
ra
Sa
Sa
∑
∑
∑
∑
Adagio A73
Jœ Jœ œ Jœ Jœ œvo
vo
re
re
ra
ra
re
re
ro
ro
Sa
Sa
Jœ Jœ œ Jœ Jœ œvo
vo
re
re
ra
ra
re
re
ro
ro
Sa
Sa
Jœ Jœ .œ œ Jœ Jœ œvo
vo
re
re
ra
ra
re
re
ro
ro
Sa
Sa
∑
∑
∑
molto accelerando al fine - A73 DF A120
Jœ Jœ œ Óva
va
raQ
raQ
da
dajœ jœ œ Óva
va
raQ
raQ
da
da
Jœ Jœ .œ œ Jœ Œ .va
va
raQ
raQ
da
da
∑
Jœ Jœ œ Jœ œ œ Jœjœ
vo
vo
re
re
ra
ra
re
re
ro
ro
ra
ra
Sa
Sa
∑
∑
∑
∑
Jœ Jœ œ Jœ Jœ œvo
vo
re
re
ra
ra
re
re
ro
ro
Sa
Sa
Jœ Jœ œ Jœ œ œ œ œvo
vo
re
re
ra
ra
re
re
ro
ro
Sa
Sa
Jœ Jœ .Jœ Rœ .Jœ Rœ Jœ Jœvo
vo
re
re
ra
ra
da
da
vo
vo
re
re
ra
ra
Sa
Sa
∑
∑
∑
Jœ Jœ œ Jœ Jœ œvo
vo
re
re
ra
ra
re
re
ro
ro
Sa
Sa
Jœ Jœ œ Jœ Jœ œvo
vo
re
re
ra
ra
re
re
ro
ro
Sa
Sa
Jœ Jœ œ œ Jœ Jœ œvo
vo
re
re
ra
ra
re
re
ro
ro
Sa
Sa
I choir
II choir
414
V
V
?
V
V
?
45
45
45
45
45
45
44
44
44
44
44
44
Jœ Jœ œ Jœ Jœ œvo
vo
re
re
ra
ra
re
re
ro
ro
Sa
Sa
Jœ Jœ œ Jœ Jœ œvo
vo
re
re
ra
ra
re
re
ro
ro
Sa
Sa
Jœ Jœ .Jœ Rœ .Jœ Rœ Jœ Jœvo
vo
re
re
ra
ra
da
da
vo
vo
re
re
ra
ra
Sa
Sa
∑
∑
∑
Jœ Jœ œ Jœ Jœ œ Œvo
vo
re
re
ra
ra
re
re
ro
ro
Sa
Sa
Jœ Jœ œ Jœ Jœ œ Œvo
vo
re
re
ra
ra
re
re
ro
ro
Sa
Sa
Jœ Jœ .œ œ Jœ Jœ œ Œvo
vo
re
re
ra
ra
re
re
ro
ro
Sa
Sa
Ó . .Jœ Rœ œvo
vo
re
re
ra
ra
Ó . .Jœ Rœ œvo
vo
re
re
ra
ra
Ó . .Jœ Rœ Jœ Jœvo
vo
re
re
ra
ra
Sa
Sa
Jœ Jœ œ Jœ Jœ œvo
vo
re
re
ra
ra
re
re
ro
ro
Sa
Sa
Jœ Jœ œ Jœ Jœ œvo
vo
re
re
ra
ra
re
re
ro
ro
Sa
Sa
Jœ Jœ œ Jœ Jœ Jœ ‰vo
vo
re
re
ra
ra
re
re
ro
ro
Sa
Sa
∑
∑
∑
∑
∑
∑
Jœ Jœ œ Jœ Jœ œvo
vo
re
re
ra
ra
re
re
ro
ro
Sa
Sa
Jœ Jœ œ Jœ Jœ œvo
vo
re
re
ra
ra
re
re
ro
ro
Sa
Sa
Jœ Jœ œ .Jœ Rœ Jœ Jœvo
vo
re
re
ra
ra
vo
vo
re
re
ra
ra
Sa
Sa
415
V
V
?
V
V
?
Jœ Jœ œ Jœ Jœ œvo
vo
re
re
ra
ra
re
re
ro
ro
Sa
Sa
Jœ Jœ œ Jœ Jœ œvo
vo
re
re
ra
ra
re
re
ro
ro
Sa
Sa
Jœ Jœ œ Jœ Jœ œvo
vo
re
re
ra
ra
re
re
ro
ro
Sa
Sa
∑
∑
∑
∑
∑
∑
Jœ Jœ œ Jœ Jœ œvo
vo
re
re
ra
ra
re
re
ro
ro
Sa
Sa
Jœ Jœ œ Jœ Jœ œvo
vo
re
re
ra
ra
re
re
ro
ro
Sa
Sa
Jœ Jœ œ .Jœ Rœ Jœ Jœvo
vo
re
re
ra
ra
vo
vo
re
re
ra
ra
Sa
Sa
Jœ Jœ œ Jœ Jœ Jœ ‰vo
vo
re
re
ra
ra
re
re
ro
ro
Sa
Sa
Jœ Jœ œ Jœ Jœ jœ ‰vo
vo
re
re
ra
ra
re
re
ro
ro
Sa
Sa
Jœ Jœ œ Jœ Jœ Jœ ‰vo
vo
re
re
ra
ra
re
re
ro
ro
Sa
Sa
∑
∑
∑
Jœ Jœ ˙ Œvo
vo
re
re
ra.
ra.
œ ˙ Œvo
vo
ha.
ha.
œ ˙ Œvo
vo
ha.
ha.
Jœ Jœ ˙ Œvo
vo
re
re
ra.
ra.
œ ˙ Œvo
vo
ha.
ha.
œ ˙ Œvo
vo
ha.
ha.
molto rit.
416
V
V
?
44
44
44
43
43
43
44
44
44
∑
.œ Jœ œ .œ œ œoQ
oQ
da
da
ho
ho
∑
Largo A54
∑
œ Rœ RÔœ RÔœ RÔœrKœb rœ .œ ‰
de
de
li
li
a
a
vo
vo
ho
ho
ho
ho
ho
ho
∑
.˙ho
ho
∑
.˙ho
ho
œ œ Jœ Rœ Rœ Jœ ‰de
de
li
li
a
a
vo
vo
da
da
œ œ Jœ Rœ Rœjœn ‰
vo
vo
de
de
li
li
a
a
vo
vo
da
da
œ œ Jœ Rœ Rœ Jœ ‰de
de
li
li
a
a
vo
vo
da
da
V
V
?
42
42
42
44
44
44
42
42
42
œ Jœ Jœ .Rœ RÔœ .Rœ RÔœ Rœbrœ Jœ
vo
vo
di
di
la
la
de
de
li
li
vo
vo
de
de
li
li
a
a
vo
vo
œ Jœ Jœ .Rœ RÔœ .RœrKœ Rœb
rœ rœ rœbvo
vo
di
di
la
la
de
de
li
li
vo
vo
de
de
li
li
a
a
vo
vo
ho
ho
œ Jœ Jœ .Rœ RÔœ .Rœ RÔœ Rœb Rœ Jœvo
vo
di
di
la
la
de
de
li
li
vo
vo
de
de
li
li
a
a
vo
vo
œ Œho
ho
œ Œho
ho
œ Jœ ‰ho
ho
he
he
œ Œ œ Jœ Rœ Rœvo
vo
vo
vo
ho
ho
de
de
lo
lo
œ .Jœ rœ .œ ‰e
e
he
he
i
i
he
he
œ œ .œ Rœ Rœe
e
he
he
he
he
i
i
da
da
Larghetto A63
˙ .Jœ Rœ œde
de
la
la
di
di
la
la
.œ jœ ˙de
de
la
la
da
da
.œ ‰ ˙va
va
ha
ha
~~~~
23. oYonuri@@@@@
Oqonuri
samegrelo
Samegrelo
417
V
V
?
42
42
42
43
43
43
42
42
42
44
44
44
43
43
43
˙ho
ho
œ ‰ Jœho
ho
ho
ho
˙ho
ho
∑
Jœ Rœ Rœ Rœ Rœ Rœ œ ‰3
vo
vo
de
de
li
li
a
a
vo
vo
ho
ho
∑
˙vo
vo
∑
˙vo
vo
Largo A54
œ œ Jœ Rœ Rœ Jœ ‰de
de
li
li
a
a
vo
vo
da
da
œ œ Jœ Rœ Rœjœ ‰
vo
vo
de
de
li
li
e
e
vo
vo
da
da
œ œ Jœ Rœ Rœ Jœ ‰de
de
li
li
a
a
vo
vo
da
da
œ Jœ Jœ .Rœ RÔœ .Rœ RÔœ Rœbrœ rœ Rœ
vov
vov
di
di
la
la
de
de
li
li
vo
vo
de
de
li
li
o
o
de
de
laQ
laQ
œ Jœ Jœ .Rœ RÔœ .RœrKœ rœ rœ rœ rœb
vo
vo
di
di
la
la
de
de
li
li
vo
vo
de
de
li
li
vo
vo
de
de
la
la
œ Jœ Jœ .Rœ RÔœ .Rœ RÔœ Rœb Rœ Jœvov
vov
di
di
la
la
de
de
li
li
vo
vo
de
de
li
li
a
a
vo
vo
V
V
?
43
43
43
44
44
44
42
42
42
b b
b b
b b
45
45
45
44
44
44
.œ Œ .ho
ho
.œ Œ .da
da
.œ œ ‰va
va
he
he
œ Œ œ Jœ Rœ Rœvo
vo
vo
vo
ho
ho
de
de
lo
lo
œ .Jœ rœ .œ ‰Qe
Qe
he
he
i
i
he
he
œ œ .œ Rœ RœQe
Qe
he
he
he
he
i
i
da
da
Larghetto A63
˙ ˙de
de
la
la
.œ jœ .jœ rœ œde
de
la
la
na
na
ni
ni
na
na
.œ ‰ ˙va
va
ha
ha
˙ho
ho
œ ‰ .rœ RÔœho
ho
de
de
li
li
˙ho
ho
Ó . ˙vo
vo
.Jœ Rœ œ œ .œ ‰o
o
u
u
de
de
la
la
vo
vo
Ó . ˙vo
vo
~~~
418
V
V
?
bb
b b
b b
44
44
44
43
43
43
n n
n n
n n
42
42
42
44
44
44
Jœ Jœ Jœ Jœ .œ œ œ œde
de
li
li
a
a
de
de
la
la
jœ jœ Jœ Jœ œ œ jœ ‰vov
vov
de
de
li
li
a
a
de
de
la
la
Jœ Jœ Jœ Jœ œ Jœ ‰de
de
li
li
a
a
va
va
ha
ha
.œ Œ .ho
ho
jœ Jœ Jœ Jœ œvo
vo
ho
ho
ho
ho
ho
ho
.œ Œ .vo
vo
˙vo
vo
∑
˙vo
vo
Largo A54
œ œ Jœ Rœ Rœ Jœ ‰de
de
li
li
a
a
vo
vo
da
da
œ œ Jœ Rœ Rœjœ ‰
vo
vo
de
de
li
li
a
a
vo
vo
da
da
œ œ Jœ Rœ Rœ Jœ ‰de
de
li
li
a
a
vo
vo
da
da
V
V
?
43
43
43
44
44
44
œ Jœ Jœ .Rœ RÔœ .Rœ RÔœ Rœbrœ rœ Rœ
vo
vo
di
di
la
la
de
de
li
li
vo
vo
de
de
li
li
vo
vo
de
de
la
la
œ Jœ Rœ rœ .Rœ RÔœ .RœrKœ rœ rœ rœ rœb
vo
vo
di
di
la
la
vo
vo
de
de
li
li
vo
vo
de
de
li
li
vo
vo
de
de
la
la
œ Jœ Jœ .Rœ RÔœ .Rœ RÔœ Rœb Rœ Rœ Rœvo
vo
di
di
la
la
de
de
li
li
vo
vo
de
de
li
li
vo
vo
de
de
la
la
.œ Œ .ho
ho
.œ Œ .vo
vo
.œ œ ‰va
va
he
he
œ Œ .œ œ Jœ Rœ Rœho
ho
ho
ho
ho
ho
de
de
lo
lo
œ Jœ jœ .œ ‰he
he
he
he
i
i
he
he
œ Jœ Jœ .œ Rœ Rœhe
he
he
he
i
i
he
he
i
i
da
da
Larghetto A63
˙ ˙de
de
la
la
œ jœ jœ .jœ rœ œde
de
la
la
vo
vo
na
na
ni
ni
na
na
.œ ‰ ˙va
va
ha
ha
.˙ Œho.
ho.
.˙ Œho.
ho.
.˙ Œho.
ho.
~~
419
V
V
?
### # #
# # # # #
# # # # #
45
45
45
n n n n #
n n n n #
n n n n #
44
44
44
∑
RÔœ RÔœ Jœ Rœ RÔœ RÔœ Rœ ‰ RÔœ RÔœ RÔœrœ .rœ œ œn œ œ rœ ≈
vo
vo
i
i
o
o
o
o
i
i
a
a
vo
vo
i
i
a
a
vo
vo
o
o
do
do
i
i
a
a
∑
Larghetto A63 .œ Jœ .œ Jœvo
vo
ho
ho
ho
ho
‰ .œ .œ Rœ ≈vo
vo
ho
ho
ho
ho
. .˙ Jœvo
vo
ho
ho
Largo A54
.Jœ Rœb Jœ œ œ œb œvo
vo
i
i
vo
vo
do
do
i
i
a
a
.jœ Rœ Jœbjœ œ œ
vo
vo
i
i
vo
vo
do
do
i
i
a
a
.Jœn Rœ Jœ Jœ œ œ œvo
vo
i
i
vo
vo
do
do
i
i
a
a
- - -
- - - - - - - - -
- - -
- - -
- - - - - - - - -
- - -
V
V
?
#
#
#
43
43
43
# # #
# # #
# # #
44
44
44
Ó Jœn Jœ Jœ Jœvo
vo
do
do
i
i
a
a
.jœ Rœn Jœ Jœ Jœ Jœ Jœ œ œvo
vo
di
di
la
la
da
da
o
o
do
do
i
i
a
a
Ó Jœn Jœ œ œ Jœo
o
do
do
i
i
a
a
Jœb Jœ Jœ Jœ Rœ Rœn Rœ Rœ œo
o
dos
dos
vo
vo
do
do
i
i
a
a
vo
vo
ho
ho
Jœbrœ ≈ œ Rœ Rœ Rœ œn œ œ
o
o
dos
dos
vo
vo
i
i
a
a
vo
vo
ho
ho
Jœb Jœn Jœ Jœ Rœ Rœ Rœ Rœ Jœ Jœo
o
dos
dos
vo
vo
do
do
i
i
a
a
vo
vo
ho
ho
.œ Œ .ho
ho
Jœ ‰ .œ ‰ho
ho
vo
vo
.œ Œ .ho
ho
- - - - - - -
- - - -
- - - - - - -
- - - -- - -
- - - -
- - - -- - -
24. odoia@@@@@
Odoia
samegrelo
Samegrelo
420
V
V
?
###
# # #
# # #
44
44
44
43
43
43
44
44
44
42
42
42
46
46
46
∑
œ Rœ Rœ Rœ Rœ Jœ Rœrœ œ
vo
vo
ho
ho
ho
ho
i
i
vo
vo
ho
ho
ho
ho
ho
ho
∑
.˙vo
vo
‰ Jœ Jœ Jœ œhou
hou
hou
hou
hou
hou
ho
ho
.˙vo
vo
.œn Jœ Jœn œb œ Jœ Jœbo
o
do
do
i
i
a
a
vo
vo
ho
ho
.œ Jœb Jœn œ œ jœ jœnvo
vo
do
do
i
i
a
a
vo
vo
ho
ho
.œn Jœ Jœ Jœ Jœ Jœno
o
do
do
i
i
a
a
vo
vo
ha
ha
.œ ‰ho
ho
.œ ‰ho
ho
.œ ‰ho
ho
- - -
- - -
- - -
- - -
- - -
- - -
V
V
?
###
# # #
# # #
46
46
46
n n n
n n n
n n n
44
44
44
∑
.Rœ RÔœ Rœ œ œn œ ‰rKœ RÔœ RÔœ RÔ
œ .Rœ RÔœ Rœ œ œ œ Rœn . .jœ ≈ .vo
vo
do
do
i
i
a
a
vo
vo
di
di
lo
lo
i
i
vo
vo
do
do
i
i
a
a
ho
ho
ho
ho
a
a
∑
.œ Jœ œ Rœ Rœ Jœvo
vo
ho
ho
ho
ho
ho
ho
ho
ho
ho
ho
.œ Rœ ≈ œ Rœ Rœ Jœvo
vo
ho
ho
ho
ho
ho
ho
ho
ho
ho
ho
wvo
vo
Jœ Jœ# Jœ Jœ Jœ Jœ .Jœ ≈o
o
do
do
i
i
a
a
vo
vo
ho
ho
ho
ho
Jœ Jœ Jœ Jœ jœ Jœ œ œrœ ≈
o
o
do
do
i
i
a
a
vo
vo
ho
ho
ho
ho
ho
ho
Jœ Jœ Jœ# Jœ Jœn Jœ œo
o
do
do
i
i
a
a
vo
vo
ho
ho
ho
ho
- - -
- - - - - - - - -
- - -
- - -
- - -- - -- - -
- - -
421
V
V
?
42
42
42
b b
b b
b b
44
44
44
œ œ œ# œ œ œ œ#vo
vo
do
do
i
i
a
a
œ .Jœ# ≈ œ œ œ œ œ œ œ ®vo
vo
do
do
i
i
a
aœ œ œ œ œ œ œ#
vo
vo
do
do i
i
a
a
.Jœ Rœ Jœ# Jœ œ œvo
vo
ri
ri
vo
vo
do
do
i
i
a
a
.Jœ Rœ Jœ Jœn œ œvo
vo
ri
ri
vo
vo
do
do
i
i
a
a
.Jœ Rœ Jœ Jœ œ œn œvo
vo
ri
ri
vo
vo
do
do
i
i
a
a
.œ ‰ho
ho
.œ ‰ha
ha
˙ha
ha
.œ Jœ .Jœ Rœ Jœ Rœ ≈vo
vo
i
i
vo
vo
do
do
i
i
a
a
.œ Jœ .Jœ Rœ Jœ Rœ ≈vo
vo
i
i
vo
vo
do
do
i
i
a
a
.œ Jœ .Jœ Rœ Jœ Jœvo
vo
i
i
vo
vo
do
do
i
i
a
a
~~~~~~~~~~~~~~
- - - - - - - - -
- - - - - - - - -
- - - - - - - -
- - - - -- -- -
- - - - -- -- -
- - - - - - - --
-
V
V
?
bb
b b
b b
43
43
43
42
42
42
n n # # # # #
n n # # # # #
n n # # # # #
44
44
44
.œ Jœ œn œ œvo
vo
ho
ho
ho
ho
ho
ho
.œ Jœ œ œvo
vo
i
i
vo
vo
ho
ho
.œ Jœ œ œvo
vo
i
i
vo
vo
ho
ho
.œ Œ .ho
ho
Jœ ‰ .Rœ RÔœ Rœn Rœ Rœ Rœ Jœ
ho
ho
vo
vo
de
de
la
la
da
da
di
di
la
la
vo
vo
.œ Œ .ho
ho
˙vo
vo
∑
˙vo
vo
∑
œ œ œ œ œ ≈o
o
do
do
i
i
a
a
∑
Adagio A67 œ Rœ Rœ Rœ Rœ# Jœ ‰ Rœ Rœ Rœ Rœvo
vo
i
i
a
a
ho
ho
ho
ho
ho
ho
i
i
a
a
ho
ho
Ó .œ# Rœ Rœvo
vo
de
de
la
la
Jœ Jœ Jœ Jœ Jœ Jœ Jœ# Jœva
va
ha
ha
he
he
a
a
va
va
ha
ha
he
he
a
a
- - -
- - -
422
V
V
?
### # #
# # # # #
# # # # #
43
43
43
n n n n #
n n n n #
n n n n #
42
42
42
44
44
44
Rœ Rœ Rœ# Rœ .Jœ Rœ Jœ Jœ# œi
i
a
a
vo
vo
ho
ho
ho
ho
ho
ho
ho
ho
ho
ho
ho
ho
Jœ Rœ Rœ Jœ Rœ# Rœ ˙vo
vovo
de
de
la
la
vo
vo
de
de
la
la
vo
vo
Jœ Jœ Jœ Jœ# Jœ œ Jœhe
he
a
a
he
he
a
a
va
va
ha
ha
ha
ha
.œ# Œ .ho
ho
Jœ# ‰ .œ Jœnho
ho
vo
vo
.œ# Œ .ho
ho
Adagio A73
.œ Jœho
ho
ho
ho
.œ ‰ho
ho
.œ Jœhe
he
.Jœ Rœ Jœn Jœ Jœ# Rœ Rœ Jœ Jœo
o
i
i
vo
vo
do
do
i
i
o
o
vo
vo
de
de
la
la
.Jœ Rœ Jœ Jœ Jœ Jœ Jœ Jœo
o
i
i
vo
vo
do
do
i
i
ov
ov
de
de
la
la
.Jœ Rœ Jœ Jœ Jœ Jœ Jœ Rœ ≈o
o
i
i
vo
vo
do
do
i
i
ov
ov
de
de
la
la
V
V
?
#
#
#
Jœ ‰ Jœ Jœ Jœ Jœ Jœ Jœvo
vo
i
i
a
a
o
o
do
do
i
i
a
a
œ Jœ ‰ Jœ Jœ Jœ Jœvo
vo
do
do
o
o
do
do
i
i
a
a
œ œ Jœ Jœ Jœ Jœo
o
do
do
o
o
do
do
i
i
a
a
Rœ Rœ Rœ Rœ œ .œ ‰vo
vo
u
u
a
a
ho
ho
ho
ho
ho
ho
Rœ Rœ Rœ Rœ Jœ Jœ .œ ‰vo
vo
u
u
a
a
ho
ho
ho
ho
ho
ho
ho
ho
Jœ Jœ Jœ Jœ .œ ‰vo
vo
ho
ho
ho
ho
ho
ho
ho
ho
.œ Jœ œ Jœ Jœvo
vo
ho
ho
ho
ho
ho
ho
.œ Jœ .œ Jœvo
vo
ho
ho
ho
ho
. .˙ ‰vo
vo
Jœ ‰ Rœ Rœ Rœ Rœ Jœ Rœ Rœ Jœ Jœvo
vo
vo
vo
di
di
la
la
vo
vo
i
i
a
a
vo
vo
de
de
la
la
.Jœ Rœ Jœ Jœ Jœ Rœ Rœ Rœ Rœ Rœ Rœvo
vo
i
i
vo
vo
do
do
i
i
a
a
vo
vo
de
de
lo
lo
di
di
la
la
.Jœ Rœ Jœ Jœ Jœ Rœ Rœ Jœ Jœvo
vo
i
i
vo
vo
do
do
i
i
a
a
vo
vo
de
de
la
la
- - -
- - - -
- - - -
- - -
- -- -
- -- -
-
-
-
-
-
-
-
-
-
-
-
-
I choir
I choir
II choir
423
V
V
?
#
#
#
87
87
87
44
44
44
Jœ ‰ œ Jœ Jœ Jœ Jœvo
vo
do
do
o
o
do
do
i
i
a
a
œ Jœ ‰ Jœ Jœ Jœ Jœvo
vo
do
do
o
o
do
do
i
i
a
a
.œ ‰ Jœ Jœ Jœ Jœvo
vo
o
o
do
do
i
i
a
a
Rœ Rœ Rœ Rœ œ .œvo
vo
u
u
a
a
ho
ho
ho
ho
ho
ho
Rœ Rœ Rœ Rœ œ œ ‰vo
vo
u
u
a
a
ho
ho
ho
ho
ho
ho
Jœ Jœ œ .œva
va
ha
ha
ho
ho
ho
ho
Rœ Œ . . .Jœ Rœ Jœ Jœvo
vo
vo
vo
vo
vo
de
de
laQ
laQ
œ œ .Jœ Rœ Jœ Jœvo
vo
dos
dos
vo
vo
vo
vo
de
de
laQ
laQ
œ œ œ Jœ Jœ Jœ Rœn ≈vo
vo
dos
dos
va
va
ha
ha
he
he
a
a
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
V
V
?
#
#
#
Jœ Jœ Jœn Jœ Jœ Rœ Rœ Jœ Jœvo
vo
ho
ho
Qa
Qa
ho
ho
i
i
a
a
vo
vo
de
de
la
la
œ œ Jœ Rœ Rœjœ ‰
vo
vo
ho
ho
i
i
a
a
vo
vo
de
de
Jœ Jœ .Jœb ≈ Jœ Rœ Rœ Jœn Jœva
va
ha
ha
he
he
i
i
a
a
vo
vo
de
de
la
la
Jœ Rœ ≈ Rœ Rœ Rœn Rœ Rœ Rœ Rœ Rœ œvo
vo
do
do
o
o
do
do
i
i
a
a
vo
vo
u
u
a
a
ho
ho
ho
ho
Jœ Jœ Rœ Rœ Rœ Rœ Rœ Rœ Rœ Rœ œvo
vo
dos
dos
o
o
do
do
i
i
a
a
vo
vo
u
u
a
a
ho
ho
ho
ho
Jœ Jœ Rœ Rœ Rœ Rœ .œ Jœvo
vo
dos
dos
o
o
do
do
i
i
a
a
vo
vo
ho
ho
- - - -
- - - -
- - - -
- -- -
- -- -
- -- -
I choir
424
V
V
?
V
V
?
#
#
#
#
#
#
# # # # # # #
# # # # # # #
# # # # # # #
# # # # # # #
# # # # # # #
# # # # # # #
œ Ó .ho
ho
œ Ó .ho
hoœ Ó .ho
ho
Ó .Jœ Rœ Jœn Jœvo
vo
vo
vo
de
de
la
la
œ# œn .Jœ# Rœ Jœrœ ≈
vo
vo
dos
dos
vo
vo
vo
vo
de
de
la
laœ œ .Jœ Rœ Jœ Jœnvo
vo
dos
dos
vo
vo
vo
vo
de
de
la
la
∑
∑
∑
Jœ Jœ Jœn Jœ Jœ Jœ Jœ Jœvo
vo
dos
dos
vo
vo
do
do
i
i
ov
ov
de
de
la
la
Jœ Jœ Jœ Jœ Jœ Rœ Rœjœ Jœ
o
o
dos
dos
vo
vo
do
do
i
i
o
o
vo
vo
de
de
la
la
Jœ Jœ Jœb ‰ Jœ Jœ Jœn Jœva
va
ha
ha
he
he
he
he
av
av
de
de
la
la
∑
∑
∑
Jœ Rœ ≈ Rœ Rœ Rœn Rœ Rœ Rœ Rœ Rœ œvo
vo
do
do
vo
vo
do
do
i
i
a
a
vo
vo
u
u
a
a
ho
ho
ho
ho
Jœ Rœ ≈ Rœ Rœ Rœ Rœ Rœ Rœ Rœ Rœ œvo
vo
dos
dos
vo
vo
do
do
i
i
a
a
vo
vo
u
u
a
a
ho
ho
ho
ho
Jœ Jœ Rœ Rœ Rœ Rœ .œ Jœvo
vo
do
do
vo
vo
do
do
i
i
a
a
vo
vo
ho
ho
- - - - - -
- - - - - -
- - - - -
- - - - - -
- - - - - -
- - - - -
I choir
II choir
425
V
V
?
V
V
?
### # # # #
# # # # # # #
# # # # # # #
# # # # # # #
# # # # # # #
# # # # # # #
Ó œ Rœ Rœ Jœvo
vo
i
i
a
a
vo
vo
Jœ Jœ jœ Jœ œ Rœ Rœ Jœvo
vo
hoQ
hoQ
de
de
lo
lo
i
i
a
a
vo
vo
Jœn Jœ Jœ Jœ œ Rœ Rœ Jœvo
vo
hoQ
hoQ
de
de
lo
lo
vo
vo
i
i
a
a
vo
vo
œn Ó .ho
ho
œn Ó .ho
hoœn Ó .ho
ho
Rœ Ó . . .ho
ho
Rœ Ó . . .ho
ho
Rœ Ó . . .ho
ho
Ó œ Jœ Jœvo
vo
i
i
o
o
Rœ Rœ Rœ Rœ rœ Rœ Rœ Rœ œ Rœ Rœ Jœvo
vo
di
di
lo
lo
i
i
de
de
lo
lo
di
di
la
la
vo
vo
i
i
a
a
vo
vo
Rœ Rœ Rœ Rœ Jœ Jœ œ Jœ Jœvo
vo
di
di
lo
lo
i
i
de
de
la
la
vo
vo
i
i
o
o
Rœ Rœ Rœ Rœ Rœ Rœ Rœ Rœ œ Rœ Rœ Jœvo
vo
di
di
la
la
i
i
de
de
lo
lo
di
di
la
la
vo
vo
i
i
a
a
vo
vo
Rœ Rœ Rœ Rœ rœ rœ Rœ Rœ œ Rœ Rœ Jœvo
vo
di
di
la
la
i
i
de
de
lo
lo
di
di
la
la
vo
vo
i
i
a
a
vo
vo
Rœ Rœ Rœ Rœ Rœ Rœ Rœ Rœ œ Rœ Rœ Jœvo
vo
di
di
la
la
i
i
de
de
lo
lo
di
di
la
la
vo
vo
i
i
a
a
vo
vo
Rœ Ó . . .ho
ho
Rœ Ó . . .ho
ho
Rœ Ó . . .ho
ho
Rœ Ó . . .ho
ho
Rœ Ó . . .ho
ho
Rœ Ó . . .ho
ho
Rœ Rœ Rœ Rœ Jœ Jœ œ Jœ Jœvo
vo
di
di
lo
lo
i
i
de
de
lo
lo
vo
vo
i
i
o
o
Rœ Rœ Rœ Rœ rœ Rœ Rœ Rœ œ Rœ Rœ Jœvo
vo
di
di
lo
lo
i
i
de
de
lo
lo
di
di
la
la
vo
vo
i
i
a
a
vo
vo
Jœ Jœ Jœ Jœ œ Rœ Rœ JœvoQ
voQ
da
da
de
de
la
la
vo
vo
i
i
a
a
vo
vo
426
V
V
?
V
V
?
### # # # #
# # # # # # #
# # # # # # #
# # # # # # #
# # # # # # #
# # # # # # #
œ œ jœ Œ .hev
hev
doQ
doQ
ha
ha
Ó œ œva
va
doQ
doQ
œ œ œ œhev
hev
doQ
doQ
va
va
doQ
doQ
Rœ Ó . . .ho
ho
Rœ Ó . . .ho
ho
Rœ Ó . . .ho
ho
∑
jœ Ó . .he
he
Jœ Ó . .he
he
œ œ jœ Œ .hev
hev
doQ
doQ
ha
ha
Ó œ œva
va
doQ
doQ
œ œ œ œhev
hev
doQ
doQ
va
va
doQ
doQ
molto accelerando - A77 DF A126
œ œ Óhev
hev
doQ
doQ
Ó œ œva
va
doQ
doQ
œ œ œ œhev
hev
doQ
doQ
va
va
doQ
doQ
∑
jœ Ó . .he
he
Jœ Ó . .he
he
∑
∑
∑
œ Jœ ‰ Óhev
hev
doQ
doQ
Ó œ Jœ ‰va
va
doQ
doQ
œ Jœ ‰ œ Jœ ‰hev
hev
doQ
doQ
va
va
doQ
doQ
˙ ˙Qe
Qe
he
he
˙ ˙Qe
Qe
ho
ho
.˙ œQe
Qe
˙ ˙Qe
Qe
he
he
˙ ˙Qe
Qe
ho
ho
.˙ œQe
Qe
a tempo
who.
ho.
who.
ho.
who.
ho.
who.
ho.
who.
ho.
who.
ho.
427
V
V
?
##
# #
# #
44
44
44
∑
.œ Jœ œ .œ rœ œvovo
hoho
hoho
hoho
∑
Larghetto A63
.Jœ Rœ œ œ œ œ œ œ Jœ œ œ œ œ œ œ Jœdede
lili
vovo
dede
lili
vovo
didi
lala
.Jœ Rœ Jœ Jœ Jœ Jœ Jœ Jœdede
lili
vovo
dede
lili
vovo
didi
lala
∑
˙ œ Rœ Rœ Rœ Rœdada
hoho
vovo
riri
rara
vovo
.œ ‰ œ Rœ Rœ Rœ Rœhehe
vovo
vovo
riri
rara
vovo
.˙ Rœ Rœ Rœ Rœvovo
vovo
riri
rara
vovo
œ œ .Jœ Rœ Jœ ‰nana
nini
nana
nini
nana
œ œ .œ ‰nana
nini
nana
œ œ .œ ‰nana
nini
nana
V
V
?
##
# #
# #
.œ Jœ œ œvovo
hoho
hoho
hoho
.œ Jœ œ œaa
haha
hoho
hoho
wvovo
.Jœ Rœ œ œ œ Jœ Jœ Rœ Rœ Jœ Jœbaba
zizi
xoxo
CaCa
lele
TiTi
ll
gvegve
rara
.Jœ Rœ Jœ Jœ Jœ Rœ Rœ Jœ Jœbaba
zizi
xoxo
CaCa
lele
TiTi
ll
gvegve
rara
.Jœ Rœ Jœ Jœ Jœ Rœ Rœ Jœ Jœbaba
zizi
xoxo
CaCa
lele
TiTi
ll
gvegve
rara
.œ ‰ œ Rœ Rœ Rœ Rœdada
vovo
vovo
riri
rere
vovo
.œ ‰ œ Rœ Rœ Rœ Rœhehe
vovo
vovo
riri
rara
vovo
.œ ‰ œ Rœ Rœ Rœ Rœdada
vovo
vovo
riri
rere
vovo
œ œ .Jœ Rœ œnana
nini
nana
nini
nana
œ œ ˙nana
nini
nana
œ œ ˙nana
nini
nana
- - - --
- - - - -
- - - - -
- -- - -
- - - - -
- - - - -
25. naduri@@@@@
Naduri
I choir
svaneTi
Svaneti
428
V
V
?
##
# #
# #
.œ Jœ œ œvovo
hoho
hoho
hoho
.œ Jœ œ Jœ ‰vovo
hoho
hoho
hoho
˙ œ Jœ ‰vovo
hoho
hoho
.Jœ Rœ œ œ œ Jœ Jœ œ œ œ Jœ Jœvovo
hoho
hoho
hoho
vovo
hoho
hoho
hoho
.Jœ Rœ Jœ Jœ œ œ Jœ Jœ Jœdede
lili
vovvov
dede
lili
vovvov
didi
lala
.Jœ Rœ Jœ Jœ Jœ Jœ Jœ Jœdede
lili
vovvov
dede
lili
vovvov
didi
lala
.œ ‰ œ Rœ Rœ Rœ Rœhoho
vovo
vovo
riri
rara
vovo
.œ ‰ œ Rœ Rœ Rœ Rœdada
vovo
vovo
riri
rara
vovo
˙ œ Rœ Rœ Rœ Rœdada
vovo
vovo
riri
rara
vovo
œ œ .œ ‰nana
nana
dada
œ œ .œ ‰nana
nana
dada
œ œ .œ ‰nana
nana
dada
V
V
?
##
# #
# #
.œ Jœ œ œvovo
hoho
hoho
hoho
.œ Jœ œ œ œ œ ≈vovo
hoho
hoho
hoho
.œ Jœ œ Jœ ‰vovo
hoho
hoho
hoho
.Jœ Rœ œ œ œ œ œ œ Jœ rœ Jœ Jœ Jœaa
baba
hoho
hoho
vovo
hoho
hoho
hoho
hoho
.Jœ Rœ Jœ Jœ Jœ Rœ Rœ Jœ Jœbaba
zizi
xoxo
CaCa
lele
TiTi
ll
gvegve
rara
.Jœ Rœ Jœ Jœ Jœ Rœ Rœ Jœ Jœbaba
zizi
xoxo
CaCa
lele
TiTi
ll
gvegve
rara
.œ ‰ œ Rœ Rœ Rœ Rœhoho
vovo
vovo
rere
rara
vovo
.œ ‰ œ Rœ Rœ Rœ Rœdada
vovo
vovo
riri
rara
vovo
.œ ‰ œ Rœ Rœ Rœ Rœdada
vovo
vovo
riri
rara
vovo
œ œ ˙nana
nana
dada
œ œ ˙nana
nana
dada
œ œ ˙nana
nana
dada
-
- - - - -
- - - - -
-
-- - - -
- - - - -
II choir
429
V
V
?
##
# #
# #
.œ Jœ œ œvovo
hoho
hoho
hoho
.œ Jœ œ œvovo
hoho
hoho
hoho
.œ Jœ œ Jœ ‰vovo
hoho
hoho
hoho
Jœ Jœ œ œ œ Jœ Jœ Rœ Rœ Jœ Jœmumu xar
xarbaba zi
zixoxo
CiCi
ll
gvegve
rara
Jœ Jœ Jœ Jœ Jœ Rœ Rœ Jœ Jœmumu xar
xarbaba zi
zixoxo
CiCi
ll
gvegve
rara
Jœ Jœ Jœ Jœ Jœ Rœ Rœ Jœ Jœmumu xar
xarbaba zi
zixoxo
CiCi
ll
gvegve
rara
.œ ‰ œ Rœ Rœ Rœ Rœhoho
vovo
vovo
riri
rere
vovo
.œ ‰ œ Rœ Rœ Rœ Rœdada
vovo
vovo
riri
rara
vovo
.œ ‰ œ Rœ Rœ Rœ Rœdada
vovo
vovo
riri
rara
vovo
œ œ .Jœ Rœ œnana
nini
nana
nini
nana
œ œ .œ ‰nana
nini
nana
œ œ .œ ‰nana
nini
nana
- - - - -
- - - - -
- - - - -
- -- - -
- -- - -
- - - - -
V
V
?
##
# #
# #
.œ Jœ œ Jœ ‰vovo
hoho
hoho
hoho
.œ Jœ œ œvovo
hoho
hoho
hoho
˙ œ Jœ ‰vovo
hoho
hoho
.Jœ Rœ Jœ œ œ œ Jœ Rœ Rœ Jœ Jœdede
lili
vovvov
dede
lili
vovo
vv
didi
lala
.Jœ Rœ Jœ Jœ Jœ Rœ Rœ Jœ Jœdede
lili
vovvov
dede
lili
vovo
vv
didi
lala
.Jœ Rœ Jœ Jœ Jœ Rœ Rœ Jœ Jœdede
lili
vovvov
dede
lili
vovo
vv
didi
lala
.œ ‰ œ Rœ Rœ Rœ Rœdada
vovo
vovo
riri
rara
vovo
.œ ‰ œ Rœ Rœ Rœ Rœdada
vovo
vovo
riri
rara
vovo
.œ ‰ œ Rœ Rœ Rœ Rœdada
vovo
vovo
riri
rara
vovo
œ œ .Jœ Rœ œnana
nini
nana
nini
nana
œ œ ˙nana
nini
nana
œ œ ˙nana
nini
nana
wda.da.
wda.da.
wda.da.
I choir
430
simRerebis teqstebi - Lyrics of the Songs
1. lela (aWaruli)
lelavo, Cemo lelavo, lelavo, kabaWrelavo.
lelavo, Cemo lelavo, moyevi nela-nelavo.
lelav, Cemo bedniero, gaTxueba rad gindavo?
lelav, Cemo bedniero, Sen Tu gaTxueba ginda,
Cemze kiTxi rad gindavo?
2. yaranai (aWaruli)
yaranais yanaSio yaranai misCvevia;
iqa usvams, uWamia, metad gasuqebulavo.
sxaps avuwyob, daviWirav, Toks Cavabam fexSiavo,
ormoc oya nals viyidi, zed davaWed fexzedavo,
xuTas oya qers viyidi, Semovidgam Tergzedavo.
zecas viyav, zeca vnaxe, varskvlavebsa davenaxe;
mTvarem kaci kaci momigzavna: `aq Tu iyav, rad ar mnaxe?~
3. Semoqmedura (guruli)
sxvaTa mojamagirobas advilad ityvis enavo,
dilidan saRamomdisin ar mqonda mosvenebavo,
diliT ZroxaSi mgzavnidnen, saRamos Roriskenavo,
qor-meZebrebs Tan matandnen: `xom inadireb Senavo?
Tu kurdReli daiWiro, xorci Cven – tyavi Senavo
da, Tu melas daiWirav, tyavi Cven – xorci Senavo!~
1. Lela (Achara)
Lela, my Lela, you are wearing a motley dress,
Tell me,
Why do you want to get married?
If you want to get married,
Why do you ask me?
2. Qaranai (Achara)
A warbler got used to the corn field
Ate much in there and has grown stout;
I will catch it and put a rope on its feet;
I will buy a kilo of horseshoes and shoe it;
I will buy barley and put it on my shoulder,
I was in heaven, I saw heaven, I saw stars;
The moon sent a man to me: "If you were here would you not see me?”
3. Shemokmdura (Guria)
It's easy to talk about other hired men,
When I myself was one, I had no rest from morning to evening,
I was sent to herd of cows in the morning and pigs in the evening
I had to take a hawk and sleuth hounds with me, to hunt at the same time,
If you kill a hare, give us meat and take skin for yourself;
If you kill a fox, give us skin and take meat for myself.
431
4. yanuri (guruli)
erTxel mxolod, isic ZilSi, vnaxe qarTvel qalTa kreba,
geficebi, maTi naxva exlac ise menatreba.
erTi rame mixaria.
mralJamier, biWebo!
odelias vin ar ityvis?
ver vikave siyvaruli.
qorma wiwila waiRo.
afrinda qori, afrinda, baxmaroc gadinadira.
gamcvala sworma, gamcvala.
axal ambavs mogaxseneb, viTarebas Tavisaso,
ufulobam gamiWira.
daTvma lxini gadixada, moiwvia mezoblebi,
gareSenic bevri hyavda: tura, mela, kata, mglebi.
yanasa madliansa.
gamxiaruldi, stumaro!
aba, rZalo!
5. moqceula (guruli)
viyav qali aznauri, momitaca glexis Svilma,
cxra mTas iqiT gadmiyvana.
biZaCemo, momexmare! Reles gaRma yana myvana.
erTxel mxolod, isic ZilSi, vnaxe qarTvel qalTa kreba,
geficebi, maTi naxva exlac isev menatreba.
taxtzed ijda Tamar mefe, eSxiani, momxiblavi.
daTvma lxini gadixada.
rusTaveli, vaxtang mefe, saqarTvelo, aqa mdelo.
Sen gakoceb sxvas ara, ar gegono masxara.
aba, rZalo!
4. Qanuri (Guria)
Only once did I see a gathering of Georgian women in my sleep,
I swear, I miss to see them very much.
One thing delights me.
Mravalzhamier, fellows!
Who will not sing “Odelia”?
I could not hold back love.
A hawk grabbed a chicken.
The hawk flew away, flew over Bakhmaro.
My sweetheart changed me for another.
I am telling you a new story,
Lack of money made me poor.
A bear arranged a feast, invited the neighbors,
There were many strangers too: a jackal, a fox, a cat, wolves.
Rich corn field.
Cheer up, guests!
Come, sister-in-law!
5. Moktseula (Guria)
I was a noblewoman; a peasant’s son abducted me,
He took me nine mountains away.
Help me uncle! I have corn field on the other bank of the little river.
Only once did I see a gathering of Georgian women in my sleep,
I swear, I miss to see them very much.
Charming and attractive King Tamar was sitting on the throne.
A bear arranged a feast.
Rustaveli, King Vakhtang, Georgia, here is field.
I will kiss you and nobody else, don’t take me for a fool.
Come, sister-in-law!
432
6. elesa (guruli)
elesa!
7. baileTura (guruli)
ajameTSi tevria, Sig nadiri bevria,
vina misi monadire?
garsevana qvrivia.
Seugzavnes, gamoreka, davxTi tevrsa, saZebnelsa,
gadmomixta windam davxTi, muasari beWSi sari,
mevigore windam taxi,
mivyev xeli, avCariqe, mivyev, yvelas davurige.
8. elesa (guruli)
aba, elesa!
dastur, elesa!
9. CoCxaTura (guruli)
movidoda wyali Savi,
mas moqonda gveli Savi,
gadvudeqi kodmisaso,
gamovdevi Subis wveri,
eviyvane, maRla davde, kodmisaso,
rom Sevxede, Semomxeda,
gevikari jibes xeli,
amoviRe jayva Savi,
Sua gavWeri gveli Savi,
gadmovida sisxli Savi.
6. Elesa (Guria)
Elesa!
7. Bailetura (Guria)
In the forest of Ajameti, there are many beasts,
Who will hunt them?
Garsevan the widower.
He went to the forest and drove them out and I was waiting.
I stubbed a picket into a wild boar’s back,
I took the boar,
Cut it and distributed to everyone.
8. Elesa (Gurian)
Elesa!
Truly, Elesa!
9. Chochkhatura (Guria)
Black water flowed,
And carried a black snake,
I got in its way on hill,
I got it out with a spearhead,
I took it and put it up on the hill,
I looked at it and it looked at me,
I put my hand on the pocket
And took a black penknife out of it,
I cut the snake in half,
Black blood flowed out.
433
10. jiqura (guruli)
mSvidoba, Tu gamarjoba, kidev gadavaba.
viyav qali aznauri, glexis Svilma miTxua;
dRes miTxua, xval mivyavar;
ver mivyvebi nebiT CemiT, Tumca ZaliT mitaceben.
11. elesa (guruli)
aswi, biWo! elesa!
aba, biWo! elesa!
gavitanoT, elesa!
gadavagdoT, elesa!
viTamaSoT, elesa!
12. naduri (imeruli)
biWebo, vToxnoT simindi, male puris droc movao!
13. namgluri (imeruli)
namgalo, Cemo rkina!
gasWer, gamiZex winavo!
agvifrinda Cvens win mwyeri.
14. naduri (imeruli)
baRCas mival.
aba, am dilas avdeq,
dilaze adre avdeqi,
aba, dRes dilas adre avdeqio,
aba, dila viare cvrianze,
dilas viare cvriani.
aba, win qali Samomeyara,
10. Jikura (Gurian)
Greetings!
I was a noblewoman; a peasant’s son married me;
He married me today, he is taking me with him tomorrow,
I am not going with him on my own will, he is forcibly taking me.
11. Elesa (Gurian)
Lift it fellows! Elesa!
Hey fellows! Elesa!
Let’s move it, Elesa!
Let’s throw it away, Elesa!
Let’s play, Elesa!
12. Naduri (Imereti)
Fellows, let’s hoe the corn field, soon it will be time for wheat field!
13. Namgluri (Imereti)
My iron sickle!
Cut and lead me forward!
A quail took off in front of us.
14. Naduri (Imereti)
I am going to the kitchen garden.
I woke up this morning,
I woke up early this morning,
I woke up early this morning today,
I walked dewy grass.
I walked dewy grass.
I met a woman,
434
mtirali, Tval-cremliani.
aba, me is mevkiTxe, davjeq gverdso,
`aba, qalo, raze xar mtirali?~
qmari TaTrebma momikles,
cixezeda gadmomikides,
Sal-abraSumis ZafiTo,
gawydeba da Camovardeso,
TavdaRma midis mdinare,
eZebes Wilis naviTo,
ipoves da gamoaTries,
itira yovelma sulma,
itira yovlad mosulma.
15. xelxvavi (imeruli)
sicocxles Tu ar merCio.
16. naduri (imeruli)
17. namgluri (imeruli)
namgali Cemi kargad Wris, Seni namgali bzinavso.
anduyafar monadire, cxeni cxens ar mixalo!
oras Tumnad cxeni miRirs da orasad avSara,
biWebo, xeleuri gamouRe, dabma unda ukveo, biWebo!
18. naduri (leCxumuri)
simindsa Toxna davuwyoT, erTad davZaxoT muSuri,
ar iqneba Cveni jobna.
Weeping, tearful.
I sat beside her and asked:
“Why are you crying?”
She said: “The Turks had killed my husband,
Hung him over the castle wall,
With a rope,
The rope tore and he fell
Into the river.
They looked for him by a boat,
Found him and took him to the river bank,
Everyone cried.
Everyone cried.
15. Khelkhvavi (Imereti)
I prefer you to my life.
16. Naduri (Imereti)
17. Namgluri (Imereti)
My sickle cuts well, your sickle glitters.
Anduqapar, the hunter, be careful with my horse,
I paid two hundred for the horse, and another two hundred for the halter,
Hey, let’s work fellows!
18. Naduri (Lechkhuni)
Let's start hoeing the corn and sing the labor song together,
No one can surpass us!
435
19. odoia (leCxumuri)
siminds varCevT kalozeda,
biWo, unda dagvexmaro,
magierad Seni iyos,
rac ki naxo nedli taro.
20. naduri (usaxeluri) – leCxumuri
21. Zveli naduri (usaxeluri) – leCxumuri
simindsa Toxna davuwyoT, mogviva mosavalio.
22. oCeSxvei (megruli)
oCeSxvei do xvavrieli, – yana xvaviani da baraqiani,
xes mouRu xvavrieli, – xels moaqvs xvavi,
Cqin nodefi tarieli. – Cemi nadis monawileebi
tarielebi arian.
23. oYonuri (megruli)
24. odoia (megruli)
odoia
25. naduri (svanuri)
bazi xoCa leTil gvera, – amaRam kargi Rame gveqneba,
muxar bazi xoCil gvera. – xval Rame ukeTesi gveqneba.
19. Odoia (Lechkhumi)
We are shucking corn on the threshing floor,
Help us, fellow!
You may have all the ears
Of baby corn that you find.
20. Naduri (Usakhelauri, Lechkhumi)
21. Dzveli Naduri (Usakhelauri, Lechkhumi)
Let's start hoeing the corn, we will harvest a good crop.
22. Ocheshkhvei (Samegrelo)
Rich corn field,
Abundunce of crop!
My nadi fellows are heroes.
23. Oqonuri (Samegrelo)
24. Odoia (Samegrelo)
Odoia
25. Naduri (Svaneti)
This night will be good
Tomorrow night will be better.
436
Semsruleblebi
Performers
aWara
amaRlobeli zeqeria mevludis Ze (1912) _ Wvana
ananiZe hasan mevludis Ze (1931) _ wyavroka
ananiZe hasan rejebis Ze (1899) _ wyavroka
beJaniZe ali-osman hasanis Ze (1916) _ Wvana
beJaniZe guram muhamedis Ze (1938) _ Wvana
beJaniZe mevlud suleimanis Ze (1907) _ Wvana
beriZe ali-osman hasanis Ze (1933) _ woniarisi
beriZe memed huseinis Ze (1901) _ woniarisi
beriZe nuri feratis Ze (1910) _ woniarisi
gamarjobaZe iusuf qamilis Ze (1901) _ wyavroka
gogitiZe memed dursunis Ze (1898) _ woniarisi
gogitiZe nuri ismailis Ze (1901) _ woniarisi
kalandariSvili suliko axmedis Ze (1940) _ wyavroka
kvirikaZe aslant huseinis Ze (1910) _ woniarisi
kvirikaZe islam rizmanis Ze (1890) _ woniarisi
konceliZe memed iskenderis Ze (1909) _ zemo xevi
laziSvili riza osmanis Ze (1919) _ wyavroka
maxaraZe ali musas Ze (1919) _ wyavroka
romanaZe qazim suleimanis Ze (1928) _ wyavroka
romanaZe hasan memedis Ze (1887) _ wyavroka
takiZe daviT xuSutis Ze (1936) _ wyavroka
takiZe qamil alis Ze (1914) _ wyavroka
qaTamaZe murad suleimanis Ze (1901) _ wyavroka
qaTamaZe suleiman memedis Ze (1931) _ zemo xevi
qaTamaZe hasan dursunis Ze (1919) _ wyavroka
qarcivaZe iuri rejebis Ze (1937) _ zemo xevi
Adjara
Amaghlobeli Zekeria (Mevludi, 1912) – Chvana
Ananidze Hasan (Mevludi, 1931) – Tsqavroka
Ananidze Hasan (Rejebi, 1899) – Tsqavroka
Bezhanidze Ali-Osman (Hasani, 1916) – Chvana
Bezhanidze Guram (Muhamedi, 1938) – Chvana
Bezhanidze Mevlud (Suleimani, 1907) – Chvana
Beridze Ali-Osman (Hasani, 1933) – Tsoniarisi
Beridze Memed (Huseini, 1901) – Tsoniarisi
Beridze Nuri (Perati, 1910) – Tsoniarisi
Gamarjobadze Iusup (Kamili, 1901) – Tsqavroka
Gogitidze Memed (Dursuni, 1898) – Tsoniarisi
Gogitidze Nuri (Ismail, 1901) – Tsoniarisi
Kalandarishvili Suliko (Ahmedi, 1940) – Tsqavroka
Kvirikadze Aslan (Huseini, 1910) – Tsoniarisi
Kvirikadze Islam (Rizmani, 1890) – Tsoniarisi
Kontselidze Memed (Iskenderi, 1909) – Zemo Khevi
Lazishvili Riza (Osmani, 1919) – Tsqavroka
Makharadze Ali (Musa, 1919) – Tsqavroka
Romanadze Kazim (Suleimani, 1928) – Tsqavroka
Romanadze Hasan (Memed, 1887) – Tsqavroka
Takidze Davit (Khushuti, 1936) – Tsqavroka
Takidze Kamil (Ali, 1914) – Tsqavroka
Katamadze Murad (Suleimani, 1901) – Tsqavroka
Katamadze Suleiman (Memedi, 1931) – Zemo Khevi
Katamadze Hasan (Dursuni, 1919) – Tsqavroka
Kartsivadze Iuri (Rejebi, 1937) – Zemo Khevi
437
qarcivaZe memed suleimanis Ze (1927) _ zemo xevi
qarcivaZe muhamed xajalis Ze (1905) _ zemo xevi
xajiSvili ramiz axmedis Ze (1894) _ wyavroka
xajiSvili qazim ramizis Ze (1923) _ wyavroka
guria
asieSvili isak ioTamis Ze (1893) _ zemo surebi
baramiZe avTandil ivlianes Ze (1912) _ zemo surebi
baramiZe vaJa moses Ze (1924) _ zemo surebi
bocvaZe serapion iraklis Ze (1895) _ saWamiaseri
bubuteiSvili ruben konstantines Ze (1924) _ saWamiaseri
bubuteiSvili WiWiko konstantines Ze (1930) _ saWamiaseri
gogelia kaliste mevarkacis Ze (1915) _ CoCxaTi
gogiberiZe SoTa giorgis Ze (1907) _ zemo surebi
gordelaZe akvilos ivanes Ze (1901) _ lixauri
gubelaZe evtixi serafionis Ze (1912) _ saWamiaseri
gudavaZe ivane iraklis Ze (1924) _ xevi
gumbariZe grigol konstantines Ze (1917) _ CoCxaTi
gurgenaZe titiko elises Ze (1907) _ CoCxaTi
gujabiZe glaxun isidores Ze (1905) _ CoCxaTi
eliaSvili aqvsenti karpezis Ze (1906) _ xevi
eliaSvili demur aqvsentis Ze (1936) _ xevi
vaSaymaZe gurgen nikolozis Ze (1901) _ lixauri
vaSaymaZe kvirosi nikolozis Ze (1907) _ lixauri
TavarTqilaZe vasil giorgis Ze (1908) _ qvenobani
TavarTqilaZe vladimer giorgis Ze (1900) _ qvenobani
TavarTqilaZe ilia konstantines Ze (1917) _ qvenobani
TavarTqilaZe mose levanis Ze (1902) _ qvenobani
TavJaraZe vaxtang ilias Ze (1923) _ lixauri
TikaraZe daviT serapionis Ze (1923) _ CoCxaTi
Kartsivadze Memed (Suleimani, 1927) – Zemo Khevi
Kartsivadze Muhamed (Khajali 1905) – Zemo Khevi
Khajishvili Ramiz (Akhmedi, 1894) – Tsqavroka
Khajishvili Kazim (Ramizi, 1923) – Tsqavroka
Guria
Asieshvili Isak (Iotami, 1893) – Zemo Surebi
Baramidze Avtandil (Ivliane, 1912) – Zemo Surebi
Baramidze Vazha (Mose, 1924) – Zemo Surebi
Botsvadze Serapion (Irakli 1895) – Sachamiaseri
Bubuteishvili Ruben (Konstantine, 1924) – Sachamiaseri
Bubuteishvili Chichiko (Konstantine, 1930) – Sachamiaseri
Gogelia Kaliste (Mevarkatsi, 1915) – Chochkhati
Gogiberidze Shota (Giorgi, 1907) – Zemo Surebi
Gordeladze Akvilos (Ivane, 1901) – Likhauri
Gubeladze Evtikhi (Serapioni, 1912) – Sachamiaseri
Gudavadze Ivane (Irakli, 1924) – Khevi
Gumbaridze Grigol (Konstantine, 1917) – Chochkhati
Gurgenadze Titiko (Elise, 1907) – Chochkhati
Gujabidze Glakhun (Isidore, 1905) – Chochkhati
Eliashvili Akvsenti (Karpezi, 1906) – Khevi
Eliashvili Demur (Akvsenti, 1936) – Khevi
Vashaqmadze Gurgen (Nikolozi, 1901) – Likhauri
Vashaqmadze Kvirosi (Nikolozi, 1907) – Likhauri
Tavartkiladze Vasil (Giorgi, 1908) – Kvenobani
Tavartkiladze Vladimer (Giorgi, 1900) – Kvenobani
Tavartkiladze Ilia (Konstantine, 1917) – Kvenobani
Tavartkiladze Mose (Levani, 1902) – Kvenobani
Tavzharadze Vakhtang (Ilia, 1923) – Likhauri
Tikaradze Davit (Serapioni, 1923) – Chochkhati
438
TikaraZe SoTa barTlomes Ze (1915) _ CoCxaTi
ToxaZe amiran beniabes Ze (1925) _ vani
ToxaZe zaqaria kimoTes Ze (1928) _ vani
imedaiSvili dimitri filipes Ze (1915) _ vani
imedaiSvili zurab filipes Ze (1929) _ vani
kalandaZe galaqtion grigolis Ze (1930) _ nabeRlavi
kalandaZe grigol giorgis Ze (1898) _ nabeRlavi
kalandaZe iona sabas Ze (1899) _ nabeRlavi
kalandaZe iordane eses Ze (1890) _ nabeRlavi
kalandaZe serapion ivanes Ze (1902) _ nabeRlavi
kvirkvelia Teimuraz giorgis Ze (1900) _ WanieTi
kikvaZe genadi andres Ze (1915) _ zemo surebi
kikvaZe luka besarionis Ze (1885) _ zemo surebi
kikvaZe mixeil alfesis Ze (1922) _ zemo surebi
kikvaZe onofre zurabis Ze (1900) _ zemo surebi
kikvaZe oqropir uSangis Ze (1931) _ zemo surebi
kotrikaZe giorgi malaqias Ze (1894) _ zemo surebi
lomTaTiZe aslan konstantines Ze (1900) _ qvenobani
lomjaria lazare ieses Ze (1891) _ WanieTi
lomjaria qristefore gigolos Ze (1898) _ lixauri
lomjaria amiran qristefores Ze (1924) _ lixauri
lomjaria daviT ivanes Ze (1916) _ WanieTi
lomjaria evgeni Salvas Ze (1921) _ WanieTi
loria elioti samsonis Ze (1924) _ saWamiaseri
mamalaZe legri uJenis Ze (1940) _ xevi
mamalaZe omeli erankos Ze (1905) _ xevi
mamalaZe uJeni Teofiles Ze (1911) _ xevi
mamalaZe jumber apolonis Ze (1935) _ xevi
maxaraZe grigol seilanis Ze (1911) _ vani
maxaraZe ivane mixeilis Ze (1890) _ vani
Tikaradze Shota (Bartlome, 1915) – Chochkhati
Tokhadze Amiran (Beniabe, 1925) – Vani
Tokhadze Zakaria (Kimote, 1928) – Vani
Imedaishvili Dimitri (Pilipe, 1915) – Vani
Imedaishvili Zurab (Pilipe, 1929) – Vani
Kalandadze Galaktion (Grigoli, 1930) – Nabeghlavi
Kalandadze Grigol (Giorgi, 1898) – Nabeghlavi
Kalandadze Iona (Saba, 1899) – Nabeghlavi
Kalandadze Iordane (Ese, 1890) – Nabeghlavi
Kalandadze Serapion (Ivane, 1902) – Nabeghlavi
Kvirkvelia Teimuraz (Giorgi, 1900) – Chanieti
Kikvadze Genadi (Andre, 1915) – Zemo Surebi
Kikvadze Luka (Besarioni, 1885) – Zemo Surebi
Kikvadze Mikheil (Alpesi, 1922) – Zemo Surebi
Kikvadze Onopre (Zurabi, 1900) – Zemo Surebi
Kikvadze Okropir (Ushangi 1931) – Zemo Surebi
Kotrikadze Giorgi (Malakia, 1894) – Zemo Surebi
Lomtatidze Aslan (Konstantine, 1900) – Kvnobani
Lomjaria Lazare (Iese, 1891) – Chanieti
Lomjaria Kristepore (Gigolo, 1898) – Likhauri
Lomjaria Amiran (Kristepore, 1924) – Likhauri
Lomjaria Davit (Ivane, 1916) – Chanieti
Lomjaria Evgeni (Shalva, 1921) – Chanieti
Loria Elioti (Samsoni, 1924) – Sachamiaseri
Mamaladze Legri (Uzheni, 1940) – Khevi
Mamaladze Omeli (Eranko, 1905) – Khevi
Mamaladze Uzheni (Teopile, 1911) – Khevi
Mamaladze Jumber (Apoloni, 1935) – Khevi
Makharadze Grigol (Seilani, 1911) – Vani
Makharadze Ivane (Mikheili, 1890) – Vani
439
maxaraZe Salva estates Ze (1898) _ vani
maxaraZe jaba arsenis Ze (1923) _ vani
megreliZe amiran ivanes Ze (1909) _ WanieTi
miqelaZe vaJa giorgis Ze (1924) _ zemo surebi
mSvidobaZe viqtor sios Ze (1897) _ CoCxaTi
patarava varden kalenikes Ze (1915) _ lixauri
ramiSvili givi makaris Ze (1932) _ xevi
ramiSvili qiSvardi vasilis Ze (1892) _ WanieTi
sanikiZe iordane besarionis Ze (1926) _zemo surebi
simoniSvili dimitri iagoris Ze (1911) _ qvenobani
surgulaZe daviT levanis Ze (1904) _ lixauri
surgulaZe daniel levanis Ze (1890) _ lixauri
surgulaZe ermalo levanis Ze (1895) _ lixauri
surgulaZe isak jamleTis Ze (1888) _ lixauri
uruSaZe guri vladimeris Ze (1929) _ WanieTi
focxiSvili vladimer moses Ze (1887) _ qvenobani
qavTaraZe valerian noes Ze (1921) _ WanieTi
qavTaraZe Salva noes Ze (1907) _ WanieTi
SaviSvili grigol silovanis Ze (1909) _ WanieTi
CxartiSvili ilia varlamis Ze (1916) _ CoCxaTi
cxoiZe biqtor beJanis Ze (1885) _ qvenobani
cxoiZe ilarion biqtoris Ze (1911) _ qvenobani
ZnelaZe aleqsandre uSangis Ze (1932) _ saWamiaseri
ZnelaZe ivane leontis Ze (1892) _ saWamiaseri
ZnelaZe mixeil leontis Ze (1908) _ saWamiaseri
ZnelaZe oTar vardenis Ze (1935) _ saWamiaseri
ZnelaZe sofrom porfiles Ze (1918) _ saWamiaseri
xavTasi grigol ikses Ze (1894) _ WanieTi
xundaZe kukuri WuWas Ze (1926) _ saWamiaseri
xutulaiSvili yaflan abesalomis Ze (1890) _ CoCxaTi
Makharadze Shalva (Estate, 1898) – Vani
Makharadze Jaba (Arseni, 1923) – Vani
Megrelidze Amiran (Ivane, 1909) – Chanieti
Mikeladze Vazha (Giorgi, 1924) – Zemo Surebi
Mshvidobadze Viktor (Sio, 1897) – Chochkhati
Patarava Varden (Kalenike, 1915) – Likhauri
Ramishvii Givi (Makari, 1932) – Khevi
Ramishvili Kishvardi (Vasili, 1892) – Chanieti
Sanikidze Iordane (Besarioni, 1926) – Zemo Surebi
Simonishvili Dimitri (Iagori, 1911) – Kvenobani
Surguladze Davit (Levani, 1904) – Likhauri
Surguladze Daniel (Levani, 1890) – Likhauri
Surguladze Ermalo (Levani, 1895) – Likhauri
Surguladze Isak (Jamleti, 1888) – Likhauri
Urushadze Guri (Vladimeri, 1929) – Chanieti
Potskhishvili Vladimer (Mose, 1887) – Kvenobani
Kavtaradze Valerian (Noe, 1921) – Chanieti
Kavtaradze Shalva (Noe, 1907) – Chanieti
Shavishvili Grigol (Silovani, 1909) – Chanieti
Chkhartishvili Ilia (Varlami, 1916) – Chochkhati
Tskhoidze Biktor (Bezhani, 1885) – Kvenobani
Tskhoidze Ilarion (Biktori, 1911) – Kvenobani
Dzneladze Aleksandre (Ushangi, 1932) – Sachamiaseri
Dzneladze Ivane (Leonti, 1892) – Sachamiaseri
Dzneladze Mikheil (Leonti, 1908) – Sachamiaseri
Dzneladze Otar (Vardeni, 1935) – Sachamiaseri
Dzneladze Soprom (Porpile, 1918) – Sachamiaseri
Khavtasi Grigol (Ikse, 1894) – Chanieti
Khundadze Kukuri (Chucha, 1926) – Sachamiaseri
Khutulaishvili Qaplan (Abesalomi, 1890) – Chochkhati
440
imereTi
abesaZe kalistrate besarionis Ze (1890) _ muxura
bazaZe SoTa daviTis Ze (1926) _ zemo simoneTi
baqraZe emzar konstantines Ze (1946) _ zemo simoneTi
baxturiZe levan iosebis Ze (1923) _ xreiTi
boWoriSvili aleqsandre iasonis Ze (1905) _ muxura
boWoriSvili galaqtion romanozis Ze (1909) _ muxura
boWoriSvili genadi iasonis Ze (1918) _ muxura
bucxrikiZe kalistrate simonis Ze (1870) _ muxura
gabuxaZe germane ivanes Ze (1998) _ meore sviri
gewaZe vladimer aleqsandres Ze (1892) _ meore sviri
gewaZe Salva aleqsandres Ze (1895) _ meore sviri
gvelesiani ivane darispanis Ze (1880) _ didi rgani
gvelesiani ilia mixeili Ze (1905) _ didi rgani
gvelesiani kirile silionis Ze (1905) _ didi rgani
giorgaZe rafiel ambakos Ze (1897) _ yumuri
gogiberiZe valerian nestoris Ze (1927) _ Zuluxi
gogiberiZe raJden varlamis Ze (1929) _ Zuluxi
gogiberiZe saSa emiliane Ze (1930) _ Zuluxi
gogiberiZe SoTa mixeilis Ze (1930) _ Zuluxi
TorTlaZe meliton Tomas Ze (1893) _ zemo simoneTi
kavTelaZe nikoloz Teofiles Ze (1904) _ didi rgani
kirkitaZe ivane nestoris Ze (1905) _ muxura
maRlakeliZe mixeili maTes Ze (1888) _ meore sviri
mixeliZe mixeil aleqsandres Ze (1917) _ xreiTi
robaqiZe aleqsandre baramis Ze (1892) _ maiakovski
robaqiZe baWua isidores Ze (1915) _ maiakovski
robaqiZe germogen nestoris Ze (1897) _ maiakovski
robaqiZe grigol narimanis Ze (1903) _ maiakovski
robaqiZe varlam serapionis Ze (1906) _ maiakovski
robaqiZe ivane konstantines Ze (1895) _ maiakovski
Imereti
Abesadze Kalistrate (Besarioni, 1890) – Mukhura
Bazadze Shota (Daviti, 1926) – Zemo Simoneti
Bakradze Emzar (Konstantine, 1946) – Zemo Simoneti
Bakhturidze Levan (Iosebi, 1923) – Khreiti
Bochorishvili Aleksandre (Iasoni, 1905) – Mukhura
Bochorishvili Galaktion (Romanozi, 1909) – Mukhura
Bochorishvili Genadi (Iasoni, 1918) – Mukhura
Butskhrikidze Kalistrate (Simoni, 1870) – Mukhura
Gabukhadze Germane (Ivane, 1898) – Meore Sviri
Getsadze Vladimer (Aleksandre, 1892) – Meore Sviri
Getsadze Shalva (Aleksandre, 1895) – Meore Sviri
Gvelesiani Ivane (Darispani, 1880) – Didi Rgani
Gvelesiani Ilia (Mikheili, 1905) – Didi Rgani
Gvelesiani Kirile (Silioni, 1905) – Didi Rgani
Giorgadze Rapiel (Ambako, 1897) – Qumuri
Gogiberidze Valerian (Nestori, 1927) – Dzulukhi
Gogiberidze Razhden (Varlami, 1929) – Dzulukhi
Gogiberidze Sasha (Emiliane, 1930) – Dzulukhi
Gogiberidze Shota (Mikheili, 1930) – Dzulukhi
Tortladze Meliton (Toma, 1893) – Zemo Simoneti
Kavteladze Nikoloz (Teopile, 1904) – Didi Rgani
Kirkitadze Ivane (Nestori, 1905) – Mukhura
Maghlakelidze Mikheil (Mate, 1888) – Meore Sviri
Mikhelidze Mikheil (Aleksandre, 1917) – Khreiti
Robakidze Aleksandre (Barami, 1892) – Maiakovski
Robakidze Bachua (Isidore, 1915) – Maiakovski
Robakidze Germogen (Nestori, 1897) – Maiakovski
Robakidze Grigol (Narimani, 1903) – Maiakovski
Robakidze Varlam (Serapioni, 1906) – Maiakovski
Robakidze Ivane (Konstantine 1895) – Maiakovski
441
robaqiZe lavrenti levantis Ze (1905) _ maiakovski
robaqiZe mixeil luarsabis Ze (1887) _ muxura
robaqiZe nikoloz baramis Ze (1900) _ maiakovski
roxvaZe givi ambakos Ze (1930) _ Zuluxi
roxvaZe givi valerianis Ze (1934) _ Zuluxi
roxvaZe grigol biqtoris Ze (1920) _ Zuluxi
roxvaZe iovel raJdenis Ze (1910) _ Zuluxi
sofromaZe lavrenti filipes Ze (1907) _ xreiTi
sulmaniZe ladiko sardionis Ze (1892) _ zemo simoneTi
qarTveliSvili ilia serafionis Ze (1917) _ yumuri
qarqaSaZe Salva konstantines Ze (1901) _ zemo simoneTi
RvenefaZe kalenike vardenis Ze (1897) _ zemo simoneTi
yvavaZe ivane onisimes Ze (1899) _ muxura
yifSiZe nikoloz makaris Ze (1908) _ didi rgani
SeyrilaZe akaki simonies Ze (1896) _ didi rgani
CxikvaZe daviT iasonis Ze (1910) _ zemo simoneTi
cxvaraZe doroTi kiriles Ze (1907) _ yumuri
wiqoriZe Salva galaqtionis Ze (1902) _ zemo simoneTi
xvedeliZe anton xvTisias Ze (1890) _ didi rgani
xvedeliZe iovel eqvTimes Ze (1908) _ didi rgani
xvedeliZe mixeil iakobis Ze (1886) _ didi rgani
xviCaSvili valerian narimanis Ze (1892) _ meore sviri
xidaSeli evgeni tarasis Ze (1903) _ meore sviri
xurciZe saSa kowias Ze (1927) _ Zuluxi
jafariZe Tamar simonis asuli (1903) _ xreiTi
leCxumi
asaTiani aleqsandre dimitris Ze (1919) _ usaxelo
asaTiani vaJa mixeilis Ze (1937) _ usaxelo
asaTiani mixeil mixeilis Ze (1930) _ usaxelo
axvlediani giorgi samsonis Ze (1946) _ lasuriaSi
Robakidze Lavrenti (Levanti, 1905) – Maiakovski
Robakidze Mikheil (Luarsabi, 1887) – Mukhura
Robakidze Nikoloz (Barami, 1900) – Maiakovski
Rokhvadze Givi (Ambako, 1930) – Dzulukhi
Rokhvadze Givi (Valeriani, 1934) – Dzulukhi
Rokhvadze Grigol (Biktori, 1920) – Dzulukhi
Rokhvadze Iovel (Razhdeni, 1910) – Dzulukhi
Sopromadze Lavrenti (Pilipe, 1907) – Khreiti
Sulmanidze Ladiko (Sardioni, 1892) – Zemo Simoneti
Kartvelishvili Ilia (Serapioni, 1917) – Qumuri
Karkashadze Shalva (Konstantine, 1917) – Zemo Simoneti
Ghvenepadaze Kalenike (Vardeni, 1897) – Zemo Simoneti
Qvavadze Ivane (Onisime, 1899) – Mukhura
Qipshidze Nikoloz (Makari, 1908) – Didi Rgani
Sheqriladze Akaki (Simonie, 1896) – Didi Rgani
Chkhikvadze Davit (Iasoni, 1910) – Zemo Simoneti
Tskhvaradze Doroti (Kirile, 1907) – Qumuri
Tsikoridze Shalva (Galaktioni, 1902) – Zemo Simoneti
Khvedelidze Anton (Khvtisia, 1890) – Didi Rgani
Khvedelidze Iovel (Ekvtime, 1908) – Didi Rgani
Khvdelidze Mikheil (Iakobi, 1886) – Didi Rgani
Kvichashvili Valerian (Narimani, 1892) – Meore Sviri
Khidasheli Evgeni (Tarasi, 1903) – Meore Sviri
Khurtsidze Sasha (Kotsia, 1927) – Dzulukhi
Japaridze Tamar (Simoni, 1903) – Khreiti
Lechkhumi
Asatiani Aleksandre (Dimitri, 1919) – Usakhelo
Asatiani Vazha (Mikheili, 1937) – Usakhelo
Asatiani Mikheil (Mikheili, 1930) – Usakhelo
Akhvlediani Giorgi (Samsoni, 1946) – Lasuriashi
442
beniZe aleqsandre zaqarias Ze (1898) _ zubi
beniZe ermile bekos Ze (1892) _ zubi
bregvaZe vladimer iagoris Ze (1921) _ lasuriaSi
goleTiani paWu markos Ze (1927) _ usaxelo
gorgasliZe dimitri romanozis Ze (1903) _ usaxelo
gorgasliZe konstantine romanozis Ze (1905) _ usaxelo
gorgasliZe revaz konstantines Ze (1934) _ usaxelo
gorgasliZe WiWiko romanis Ze (1903) _ usaxelo
gugava ambrosi besarionis Ze (1909) _ usaxelo
gugava bikenti samsonis Ze (1925) _ usaxelo
gugava vaJa iasonis Ze (1938) _ usaxelo
gugava iuri trifonis Ze (1948) _ usaxelo
guruli grigul lukas Ze (1906) _ usaxelo
guruli hariman iosebis Ze (1926) _ usaxelo
daviTuliani valerian erastis Ze (1909) _ zubi
TvaraZe aleqsandre yaramanis Ze (1903) _ usaxelo
TvaraZe guri aleqsandres Ze (1938) _ usaxelo
TvaraZe konstantine yaramanis Ze (1906) _ usaxelo
TvaraZe zaur anTimozis Ze (1937) _ usaxelo
ToTaZe iuri buWus Ze (1953) _ usaxelo
ToTaZe murman nikolozis Ze (1952) _ usaxelo
kalaCaZe grigol kapitonis Ze (1934) _ lasuriaSi
kikaliSvili Salva darispanis Ze (1924) _ zubi
koberiZe Tengiz filipes Ze (1921) _ lasuriaSi
kopaliani Tengiz vladimeris Ze (1942) _ lasuriaSi
kopaliani oTar parTenis Ze (1929) _ zubi
mindaZe omer alis Ze (1930) _ zubi
muSkudiani vaJa iosebis Ze (1934) _ lasuriaSi
muSkudiani varlam markozis Ze (1922) _ lasuriaSi
muSkudiani samson aleqsandres Ze (1947) _ lasuriaSi
omanaZe daviT giorgis Ze (1907) _ zubi
Benidze Aleksandre (Zakaria, 1898) – Zubi
Benidze Ermile (Beko, 1892) – Zubi
Bregvadze Vladimer (Iagori, 1921) – Lasuriashi
Goletiani Pachu (Marko, 1927) – Usakhelo
Gorgaslidze Dimitri (Romanozi, 1903) – Usakhelo
Gorgaslidze Konstantine (Romanozi, 1905) – Usakhelo
Gorgaslidze Revaz (Konstantine, 1934) – Usakhelo
Gorgaslidze Chichiko (Romani, 1903) – Usakhelo
Gugava Ambrosi (Besarioni, 1909) – Usakhelo
Gugava Bikenti (Samsoni, 1925) – Usakhelo
Gugava Vazha (Iasoni, 1938) – Usakhelo
Gugava Iuri (Triponi, 1948) – Usakhelo
Guruli Grigul (Luka, 1906) – Usakhelo
Guruli Hariman (Iosebi, 1926) – Usakhelo
Davituliani Valerian (Erasti, 1909) – Zubi
Tvaradze Aleksandre (Qaramani, 1903) – Usakhelo
Tvaradze Guri (Aleksandre, 1938) – Usakhelo
Tvaradze Konstantine (Qaramani, 1906) – Usakhelo
Tvaradze Zaur (Antimoz, 1937) – Usakhelo
Totadze Iuri (Buchu, 1953) – Usakhelo
Totadze Murman (Nikolozi, 1952) – Usakhelo
Kalachadze Grigol (Kapitoni, 1934) – Lasuriashi
Kikalishvili Shalva (Darispani, 1924) – Zubi
Koberidze Tengiz (Pilipe, 1921) – Lasuriashi
Kopaliani Tengiz (Vladimeri, 1942) – Lasuriashi
Kopaliani Otar (Parteni, 1929) – Zubi
Mindadze Omer (Ali, 1930) – Zubi
Mushkudiani Vazha (Iosebi, 1934) – Lasuriashi
Mushkudiani Varlam (Markozi, 1922) – Lasuriashi
Mushkudiani Samson (Aleksandre, 1947) – Lasuriashi
Omanadze Davit (Giorgi, 1907) – Zubi
443
omanaZe uCa vladimeris Ze (1904) _ zubi
svaniZe WoWia samsonis Ze (1928) _ lasuriaSi
fanqaraZe biWiko iustines Ze (1928) _ lasuriaSi
yuraSvili giorgi ambrosis Ze (1921) _ usaxelo
CakvetaZe mariam afrasionis asuli (1934) _ zubi
CakvetaZe parodi epifanes Ze (1869) _ zubi
Ciqovani mixeil oqropiris Ze (1909) _ zubi
Wabukiani galaqtion meTodes Ze (1931) _ lasuriaSi
Wabukiani geronti arCilis Ze (1921) _ lasuriaSi
xaliani aleqsandre aqvsentis Ze (1922) _ zubi
xvadagiani daviT domentis Ze (1930) _ lasuriaSi
xecuriani akaki samsonis Ze (1937) _ usaxelo
xecuriani giorgi samsonis Ze (1926) _ usaxelo
xecuriani valerian vladimeris Ze (1934) _ usaxelo
xecuriani viqtor maqsimes Ze (1894) _ usaxelo
xecuriani samson giorgis Ze (1884) _ usaxelo
xecuriani samson meTodes Ze (1891) _ usaxelo
janeliZe Tamar zaqarias asuli (1931) _ zubi
samegrelo
abakelia vaJa silibistros Ze (1926) _ xobi
alania andri Tedores Ze (1879) _ xobi
alania daviT andris Ze (1921) _ xobi
alania vladimer andres Ze (1914) _ xobi
alania irodi aleqsandres Ze (1918) _ xobi
alania radiko solomonis Ze (1930) _ xobi
beraia xifali axrous Ze (1907) _ dixazurga
bukia apolon mixeilis Ze (1923) _ xobi
gamaxaria vladimer begis Ze (1926) _ dixazurga
gamsaxurdia luka kalmaxis Ze (1896) _ dixazurga
gvagvalia apolon isakis Ze (1914) _ dixazurga
Omanadze Ucha (Vladimeri, 1904) – Zubi
Svanidze Chochia (Samsoni, 1928) – Lasuriashi
Pankaradze Bichiko (Iustine, 1928) – Lasuriashi
Qurashvili Giorgi (Ambrosi, 1921) – Usakhelo
Chakvetadze Mariam (Aprasioni, 1934) – Zubi
Chakvetadze Parodi (Epipane, 1869) – Zubi
Chikovani Mikheil (Okropiri, 1909) – Zubi
Chabukiani Galaktion (Metode, 1931) – Lasuriashi
Chabukiani Geronti (Archili, 1921) – Lasuriashi
Khaliani Aleksandre (Avksenti, 1922) – Zubi
Khvadagiani Davit (Domenti, 1930) – Lasuriashi
Khetsuriani Akaki (Samsoni, 1937) – Usakhelo
Khetsuriani Giorgi (Samsoni, 1926) – Usakhelo
Khetsuriani Valerian (Vladimeri, 1934) – Usakhelo
Khetsuriani Viktor (Maksime, 1894) – Usakhelo
Khetsuriani Samson (Giorgi, 1884) – Usakhelo
Khetsuriani Samson (Metode, 1891) – Usakhelo
Janelidze Tamar (Zakaria, 1931) – Zubi
Samegrelo
Abakelia Vazha (Silibistro, 1926) – Khobi
Alania Andri (Tedore, 1879) – Khobi
Alania Davit (Andri, 1921) – Khobi
Alania Vladimer (Andre, 1914) – Khobi
Alania Irodi (Aleksandre, 1918) – Khobi
Alania Radiko (Solomoni, 1930) – Khobi
Beraia Khipali (Akhrou, 1907) – Dikhazurga
Bukia Apolon (Mikheili, 1923) – Khobi
Gamakharia Vladimer (Begi, 1926) – Dikhazurga
Gamsakhurdia Luka (Kalmakhi, 1896) – Dikhazurga
Gvagvalia Apolon (Isaki, 1914) – Dikhazurga
444
zaqaraia nikoloz bagratis Ze (1929) _ muxuri
Tofuria serafion samsonis Ze (1923) _ qvemo xunwi
kaWarava leonti gaZas Ze (1930) _ dixazurga
kaWarava SoTa gaZas Ze (1932) _ dixazurga
kaWarava terenti andrias Ze (1925) _ dixazurga
kvaracxelia akaki giorgis Ze (1918) _ jgali
kvaracxelia amuria Cakus Ze (1904) _ jgali
kvaracxelia gudu pepus Ze (1912) _ jgali
lagvilava RuRuni stefanes Ze (1919) _ orjonikiZe
lomTaZe apolon oqropiris Ze (1909) _ xobi
markelia duSeli nikolozis Ze (1928) _ muxuri
maqacaria vladimer gudus Ze (1914) _ orjonikiZe
miqava konstantine petres Ze (1914) _ jgali
miqaia paliko viqtoris Ze (1944) _ muxuri
Jvania mixeil baxvas Ze (1907) _ dixazurga
revia ilia anTimos Ze (1891) _ qvemo xunwi
revia revaz Salvas Ze (1930) _ qvemo xunwi
rogava ambako Taras Ze (1903) _ orjonikiZe
rogava vladimer Taras Ze (1907) _ orjonikiZe
sulava valerian giorgis Ze (1910) _ qvemo xunwi
uzaraSvili SoTa terentis Ze (1929) _ muxuri
fifia prokofi aleqsis Ze (1917) _ orjonikiZe
qanTaria bagrat faSus Ze (1911) _ jgali
qanTaria mamia faSus Ze (1911) _ jgali
qvarcxava grigol vladimeris Ze (1930) _ jgali
qvaCaxia vaJa giorgis Ze (1932) _ muxuri
qvaCaxia vladimer giorgis Ze (1929) _ muxuri
qvaCaxia inali giorgis Ze (1926) _ muxuri
qvaCaxia Salva arCilis Ze (1922) _ muxuri
qvaCaxia WiWiko tarasis Ze (1929) _ muxuri
qobalia konstantine jvebes Ze (1939) _ muxuri
Zakaraia Nikoloz (Bagrati, 1929) – Mukhuri
Topuria Serapion (Samsoni, 1923) – Kvemo Khuntsi
Kacharava Leonti (Gadza, 1930) – Dikhazurga
Kacharava Shota (Gadza, 1932) – Dikhazurga
Kacharava Terenti (Andria, 1925) –Dikhazurga
Kvaratskhelia Akaki (Giorgi, 1918) – Jgali
Kvaratskhelia Amuria (Chaku, 1904) – Jgali
Kvaratskhelia Gudu (Pepu, 1912) – Jgali
Lagvilava Ghughuni (Stepane, 1919) – Orjonikidze
Lomtadze Apolon (Okropiri, 1909) – Khobi
Markelia Dusheli (Nikolozi, 1928) – Mukhuri
Makatsaria Vladimer (Gudu, 1914) – Orjonikidze
Mikava Konstantine (Petre, 1914) – Jgali
Mikaia Paliko (Viktori, 1944) – Mukhuri
Zhvania Mikheil (Bakhva, 1907) – Dikhazurga
Revia Ilia (Antimo, 1891) – Kvemo Khuntsi
Revia Revaz (Shalva, 1930) – Kvemo Khuntsi
Rogava Ambako (Tara, 1903) – Orjonikidze
Rogava Vladimer (Tara, 1907) – Orjonikidze
Sulava Valerian (Giorgi, 1910) – Kvemo Khuntsi
Uzarashvili Shota (Terenti, 1929) – Mukhuri
Pipia Prokopi (Aleksi, 1917) – Orjonikidze
Kantaria Bagrat (Pashu, 1911) – Jgali
Kantaria Mamia (Pashu, 1911) – Jgali
Kvartskhava Grigol (Vladimeri, 1930) – Jgali
Kvachakhia Vazha (Giorgi, 1932) – Mukhuri
Kvachakhia Vladimer (Giorgi, 1929) – Mukhuri
Kvachakhia Inali (Giorgi, 1926) – Mukhuri
Kvachakhia Shalva (Archili, 1922) – Mukhuri
Kvachakhia Chichiko (Tarasi, 1929) – Mukhuri
Kobalia Konstantine (Jvebe, 1939) – Mukhuri
445
cacua indigo jojis Ze (1924) _ muxuri
cacua raJden jojis Ze (1927) _ muxuri
cicxvaia bagrat konstantines Ze (1887) _ qvemo xunwi
cicxvaia evgeni ermiles Ze (1908) _ qvemo xunwi
woworia kalistrate dimitris Ze (1892) _ qvemo xunwi
woworia sardion andris Ze (1898) _ qvemo xunwi
woworia filimon dimitris Ze (1887) _ qvemo xunwi
WeliZe nestor sardionis Ze (1909) _ dixazurga
WiTanava gagali spiridonis Ze (1915) _ xobi
xubua dianoz bajgus Ze (1916) _ dixazurga
xuroZe konstantine andrikos Ze (1901) _ qvemo xunwi
xuroZe romanoz arsenis Ze (1911) _ qvemo xunwi
jiqia viqtor gerasimes Ze (1900) _ qvemo xunwi
svaneTi
babloani Salva zosimes Ze (1934) _ Coluri
liparteliani domna pavles asuli (1933) _ xofuri
liparteliani levan kvirias Ze (1913) _ Coluri
liparteliani nanuli bagratis asuli (1944) _ xofuri
liparteliani cisana raJdenis asuli (1945) _ xofuri
mukbaniani aqvsenti arsenis Ze (1923) _ Coluri
mukbaniani ioseb gabrielis Ze (1893) _ Coluri
mukbaniani Suri ivanes Ze (1922) _ Coluri
mukbaniani WuWuli ivanes Ze (1925) _ Coluri
qurasbediani geronti gogis Ze (1932) _ xofuri
quraspediani venera daviTis asuli (1939) _ xofuri
quraspediani revaz daviTis Ze (1945) _ xofuri
quraspediani SoTa aleqsis Ze (1932) _ xofuri
jamburiZe Suri baTus Ze (1934) _ Coluri
jinWaraZe bavCi ilias Ze (1924) _ Coluri
Tsatsua Indigo (Joji, 1924) – Mukhuri
Tsatsua Razhden (Joji, 1927) – Mukhuri
Tsitskhvaia Bagrat (Konstantine, 1887) – Kvemo Khuntsi
Tsitskhvaia Evgeni (Ermile, 1908) – Kvemo Khuntsi
Tsotsoria Kalistrate (Dimitri, 1892) – Kvemo Khuntsi
Tsotsoria Sardion (Andri, 1898) – Kvemo Khuntsi
Tsotsoria Pilimon (Dimitri, 1887) – Kvemo Khuntsi
Chelidze Nestor (Sardioni, 1909) – Dikhazurga
Chitanava Gagali (Spiridoni, 1915) – Khobi
Khubua Dianoz (Bajgu, 1916) – Dikhazurga
Khurodze Konstantine (Andriko, 1901) – Kvemo Khuntsi
Khurodze Romanoz (Arseni, 1911) – Kvemo Khuntsi
Jikia Viktor (Gerasime, 1900) – Kvemo Khuntsi
Svaneti
Babloani Shalva (Zosime, 1934) – Choluri
Liparteliani Domna (Pavle, 1933) – Khopuri
Liparteliani Levan (Kviria, 1913) – Choluri
Liparteliani Nanuli (Bagrati, 1944) – Khopuri
Liparteliani Tsisana (Razhdeni, 1945) – Khopuri
Mukbaniani Akvsenti (Arseni, 1923) – Choluri
Mukbaniani Ioseb (Gabrieli, 1893) – Choluri
Mukbaniani Shuri (Ivane, 1922) – Choluri
Mukbaniani Chuchuli (Ivane, 1925) – Choluri
Kurasbediani Geronti (Gogi, 1932) – Khopuri
Kuraspediani Venera (Daviti, 1939) – Khopuri
Kuraspediani Revaz (Daviti, 1945) – Khopuri
Kuraspediani Shota (Aleksi, 1932) – Khopuri
Jamburidze Shuri (Batu, 1934) – Choluri
Jincharadze Bavchi (Ilia, 1924) – Choluri
446