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

24

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

27

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.

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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

40

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.

41

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

43

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

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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.

13. Melikishvili, Giorgi. (1955). On the Origin of Class Society and State in Georgia. Georgian SSR Academy of Sciences, I. Javakhishvili Institute of

History. Tbilisi: Publishing of the Georgian SSR Academy of Sciences.

14. Mepe Archili. (1960). The Morals of Georgia. Chveni saunje, vol. IV. Tbilisi: Nakaduli.

15. Mroveli, Leonti. (1942). The Georgian Chronicles (Anaseuli list). Simon Kaukhchishvili Publishing.

16. Mroveli, Leonti. (1955). The Georgian Chronicles, vol. I. Edited by Simon Kaukhchishvili. Tbilisi: Ganatleba.

17. Mskhaladze, Ali. (1969). Adjaran domestic-ceremonial Poetry. Batumi: Sabchota Adjara.

18. Noghaideli, Jemal (1940). Adjaran folklore; vol. II. Adjaran Ethnographic scientific bureau. Batomi: Adjaris sakhelgami.

19. Noghaideli, Jemal (1967). Materials of Adjaran Oral folklore and Ethnography.

Batumi Scientific-research Institute of Georgian SSR Academy of Sciences. Tbilisi: Metsniereba.

20. Plekhanov, Giorgi. (1956). Works, vol. XIV.

79

21. Paliashvili, Zakaria. (1908). Travel to Kakheti and Current State of Georgian Folk Songs. Newspaper Amirani, #150.

22. The Georgian Chronicles. Manuscript of the Institute of Manuscripts, Q207.

23. Kaukhchishvili, Tina. (1957). Strabo's Geography. Information about Georgia. (Edited by Al. Gamkrelidze). Tbilisi: Publishing of the Georgian

SSR Academy of Sciences.

24. Chikovani, Mikheil. (1938). Georgian Folklore. Tbilisi: Sakhelgami.

25. Chikovani, Mikheil. (1952). History of Georgian Folk Songs. Tbilisi: Publishing of scientific-methodological laboratory.

26. Chkhikvadze, Grigol. (1948). Ancient Musical Culture of Georgian People. Tbilisi: Musical Fund of Georgian SSR.

27. Tsuladze, Apolon. (1939). Etnographic Guria. Journal Mnatobi, #3.

28. Javakhishvili, Ivane. (1938). Basic Issues of Georgian Music History. Tbilisi: Pederatsia.

29. Javakhishvili, Ivane. Berdzenishvili, Niko and Janashia, Simon (1943). Textbook of Georgian History for senior classes of secondary school.

Institute of History of the Georgian SSR Academy of Sciences. Tbilisi: State Publishing of Georgian SSR.

30. Jambakur-Orbeliani, Aleksandre. (1861). Chanting, Singing and Humming of the Iverians. Journal Tsiskari, February.

31. Janelidze, Dimitri. (1948). Folk Initials of Georgian Theatre. Georgian State Museum of Theatre. Tbilisi: Sakhelgami.

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33. Bucher, Carl. (1923). Labor and Rhythm. Moscow: Novaya moskva.

34. Gruber, Roman. (1941). History of Musical Culture, part I. Moscow-Leningrad: Muzgiz.

35. Melikishvili, Giorgi. (1959). On the History of Ancient Georgia. USSR. I. Javakhishvili Institute of History. Tbilisi: Publishing of the Georgian SSR

Academy of Sciences.

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Tubingen.

37. Nordman, Aleksandr. (1938). Travel in Transcaucasia... St. Petersburg. Journal of the Ministry of Public Education, October, vol. XII.

38. Nadel, Siegfried. (1933). Georgische Gezange. II Kapitel. Berlin: Lautabt.

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)

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44

44

44

42

42

42

44

44

44

∑

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ii

dada

∑

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∑

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

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hoho

Jœ Jœ Jœ Jœ Jœ Jœ Jœ jœlele

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oo

CeCe

momo

lele

lala

oo

∑- - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - -

V

V

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43

43

43

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.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

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Jœ Jœ œ œvovo

dede

lala

vovo

Jœ Jœ œ œlele

lala

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kaka

∑

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lala

vovo

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hoho

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baba

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∑- - - - - - - - - - - -- - - - - - - - - - - -

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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

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44

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42

42

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vovo

Jœ Jœ Jœ Jœ Jœ Jœ Jœ jœlele

lala

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momo

lele

lala

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∑- - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - -

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43

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hoho

vovo

didi

lala

Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœlele

lala

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kaka

baba

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lala

vovo

∑

˙ Jœ ‰hoho

˙ Jœ ‰hoho

∑

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wvovo

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dede

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lala

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∑

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

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42

42

42

44

44

44

∑

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ii

dada

∑

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lele

lala

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CeCe

momo

lele

lala

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∑

∑

jœ jœ jœ jœ jœ jœ jœ jœmomo

yeye

vivi

nene

lala

nene

lala

vovo

∑

∑

jœ ‰ Œhoho

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Jœ Jœ Jœ Jœ Jœ Jœ Jœ jœlele

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∑- - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - -

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43

43

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44

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.œ Jœ Jœ Jœ Jœ Jœdede

lala

vovo

didi

lala

vovo

Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœmomo

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vivi

nene

lala

nene

lala

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∑

˙ Jœ ‰hoho

˙ Jœ ‰hoho

∑

∑

∑

wvovo

∑

Jœ Jœ œ œoo

dede

lala

dada

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dede

lala

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Jœ Jœ œ œmomo

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vivi

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∑

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lala

dede

lala

vovo

didi

lala

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Jœ Jœjœ jœ Jœ Jœ œ

lala

nene

lala

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vovo

ii

dada

∑

˙hoho

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∑- - - - - - - - - - - -- - - - - - - - - - - -

I choir

85

V

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44

44

44

42

42

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lala

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∑

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∑- - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - -

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V

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43

43

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44

44

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42

42

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lala

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lala

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vivi

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lala

nene

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vovo

∑

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∑

∑

∑

wvovo

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lala

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dede

lala

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vivi

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∑

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lala

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hoho

hoho

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lala

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∑

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∑- - - - - - - - - - - -- - - - - - - - - - - -

II choir

86

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44

44

44

42

42

42

44

44

44

∑

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dada

∑

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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

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oo

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aa

œ œii

oo

œ jœ ‰hoho

aa

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oo

œ Jœ ‰hoho

aa

œ Jœ ‰hoho

aa

œ jœ ‰hoho

aa

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oo

œ Jœ ‰hoho

aa

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aa

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aa

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oo

œ Jœ ‰hoho

aa

œ Jœ ‰hoho

aa

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oo

hoho

hoho

œ œ œ3

oo

hoho

hoho

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oo

hoho

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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

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ya

ra

ra

na

na

i

i

mis

mis

Co

Co

vi

vi

a

a

∑

˙ Œho

ho

˙ Œho

ho

∑

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vo

di

di

la

la

de

de

la

la

∑

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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

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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

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ho

∑

∑

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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.

∑

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ho

∑

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vo

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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

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ya

ra

ra

na

na

i

i

mis

mis

Co

Co

vi

vi

a

a

∑

˙ Œho

ho

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ho

∑

Œ .Jœ# Rœ .Jœ Rœ# Jœ Jœua

ua

vo

vo

vo

vo

ho

ho

ho

ho

ho

ho

∑

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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

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vo

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de

la

la

da

da

ua

ua

ho

ho

ho

ho

∑

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vo

ho

ho

ho

ho

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ho

∑

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∑

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wvo

vo

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vo

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de

la

la

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i

i

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la

vo

vo

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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

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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.

∑

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ho

∑

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vo

ho

ho

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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

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me

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tad

ga

ga

su

su

qe

qe

bu

bu

la

la

vo

vo

∑

˙ Œho

ho

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ho

∑

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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

∑

∑

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vo

ho

ho

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voQ

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ho

i

i

.˙ Œ

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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

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ho

∑

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ho

ho

ho

ho

vo

vo

de

de

la

la

∑

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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

∑

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ho

∑

∑

wvo

vo

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o

de

de

la

la

Jœ .˙ JœvoQ

voQ

ho

ho

i

i

˙ Jœ ‰ Œ

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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

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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

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da

vi

vi

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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

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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

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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

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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

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ho

ho

ho

œ ˙ Jœ ‰dav

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ho

ho

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vo

ho

ho

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vo

ho

ho

- - - - - - - - - -

- - - - - - - - - -

V

V

?

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vo

di

di

lo

lo

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moc

moc

o

o

ya

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vo

ho

ho

ho

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vo

di

di

lo

lo

i

i

vo

vo

di

di

lo

lo

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nals

vi

vi

yi

yi

di

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vo

ho

ho

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vo

di

di

lo

lo

vo

vo

di

di

lo

lo

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da

da

va

va

Wed

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˙# ˙vo

vo

ho

ho

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vo

de

de

la

la

vo

vo

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fex

ze

ze

da

da

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vo

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ho

ho

ho

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vo

ho

ho

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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

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or

moc

moc

o

o

ya

ya

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vo

ho

ho

ho

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vo

i

i

a

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ho

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vi

vi

yi

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di

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vo

de

de

la

la

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ho

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i

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da

da

va

va

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o

de

de

la

la

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ri

ri

ra

ra

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vo

ho

ho

- - - - - - -- -

- - - - - - - - -

V

V

?

Ó .Jœ Rœ .Jœ Rœvo

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di

di

lo

lo

i

i

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vi

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di

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lo

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vi

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ho

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de

la

la

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da

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ho

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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

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xu

Tas

Tas

o

o

ya

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ho

ho

ho

ho

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di

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la

la

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ho

ha

ha

ho

ho

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qers

vi

vi

yi

yi

di

di

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vo

ho

ho

ho

ho

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vo

di

di

la

la

ho

ho

ha

ha

ho

ho

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Se

mo

mo

vi

vi

dgam

dgam

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vo

ho

ho

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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

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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

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de

de

la

la

di

di

la

la

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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

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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

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vo

de

de

la

la

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ho

de

de

la

la

ho

ho

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ya

na

na

Si

Si

o

o

da

da

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ho

ho

ho

vo

vo

ho

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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

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voQ

da

da

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de

la

la

ho

ho

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ya

ra

ra

na

na

i

i

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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

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ho

ho

ho

vo

vo

ho

ho

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vo

ho

ho

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da

da

de

de

la

la

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ya

ra

ra

na

na

i

i

˙ ˙vo

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ho

ho

who

ho

poco a poco accelerando

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vo

de

de

la

la

ha

ha

ho

ho

de

de

la

la

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ho

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mis

Co

Co

vi

vi

a

a

da

da

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ho

ho

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vo

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ho

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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

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voQ

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la

la

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qa

qa

u

u

svams

svams

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vo

ho

ho

who

ho

.Jœ Rœ œ œ œ ˙ho

ho

de

de

la

la

voQ

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Wa

Wa

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mi

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vo

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di

la

la

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di

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la

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qa

qa

u

u

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who

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ho

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de

la

la

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ha

ho

ho

de

de

la

la

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ho

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Wa

mi

mi

a

a

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ho

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vo

ho

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vo

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- - - - - - - - - -

- - - - - - - - - -

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

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vo

di

di

la

la

vo

vo

di

di

la

la

vo

vo

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me

tad

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ga

ga

su

su

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vo

ho

ho

who

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de

de

la

la

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di

la

la

ho

ho

de

de

la

la

ho

ho

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bu

bu

la

la

vo

vo

da

da

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ho

ho

ho

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vo

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vo

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ho

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di

laQ

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me

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ga

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vo

de

de

la

la

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di

la

la

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ho

de

de

la

la

ho

ho

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bu

bu

la

la

vo

vo

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da

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ho

ho

ho

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vo

ho

ho

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vo

ho

ho

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

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

V

V

?

?

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da

Qa

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ya

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ra

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Andante A88

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da

i

i

a

a

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ho

de

de

la

la

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ra

ra

na

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is

da

da

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ho

vo

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w ˙ho

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molto accelerando - A100 DF A193

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va

i

i

a

a

i

i

a

a

i

i

a

a

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ho

ho

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na

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o

o

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Jœ Jœ JœJœ JœJœ JœJœ ˙

i

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a

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vo

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

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

I choir II choir

I choir I choirII choir II choir

108

V

V

?

?

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va

va

i

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a

ho

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a

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ho

ho

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qa

qa

u

u

svams

svams

da

da

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vo

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da

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de

de

la

la

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qa

qa

u

u

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da

da

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- - - - -- - - - -

- -- -- - - - - -

V

V

?

?

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va

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a

vu

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di

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vi

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de

de

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da

vi

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- - - - -- - - - -

- - -- - - -- - -

I choir I choirII choir II choir

I choir I choirII choir II choir

109

V

V

?

?

43

43

43

43

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vo

de

de

la

la

vo

vo

de

de

la

la

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Toks

mo

mo

va

va

bam

bam

da

da.˙ œ# ˙ho

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vo

vo

ho

ho

.˙ œ ˙ho

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vo

vo

ho

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vo

de

de

la

la

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de

de

la

la

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mo

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va

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da

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ho

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.œ Jœ .œ Jœ ˙va

va

i

i

a

a

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a

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da.˙ œ# ˙ho

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u

u

a

a

ho

ho

ho

ho

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a

a

vo

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da

da.˙ œ# ˙ho

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- - - - -- - - - -

- -- - - -- - - -

V

V

?

?

43

43

43

43

42

42

42

42

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ha

ho

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i

a

a

vo

vo

he

he

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ho

ho

˙ œho

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ho

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Andante A100 poco a poco accelerando

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i

a

a

va

va

he

he

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i

a

a

va

va

he

he

˙ œho

ho

ho

ho

˙ œho

ho

ho

ho

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ha

u

u

a

a

ha

ha

ho

ho

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i

a

a

vo

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he

he

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ho

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ha

u

u

a

a

ha

ha

ho

ho

jœ jœ œ# œi

i

a

a

vo

vo

he

he

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ho

ho

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ho

ho

ho

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ha

ha

u

u

a

a

ha

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i

a

a

vo

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he

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ha

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i

a

a

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ho

ho

ho

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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

∑

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da

da

∑

∑

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va

va

i

i

a

a

ho

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i

i

a

a

ha

ha

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a

ri

ri

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ov

da

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ho

ho

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Andante A88

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ha

ha

i

i

a

a

i

i

a

a

i

i

a

a

ha

ha

ho

ho

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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

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ha

i

i

a

a

i

i

a

a

ha

ha

ho

ho

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a

ri

ri

ov

ov

da

da

i

i

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da

da.˙ œho

ho

ho

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a

ri

ri

ov

ov

da

da

V

V

?

?

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i

i

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ov

ov

da

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ho

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a

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da

da

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vo

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cas

vi

vi

yav

yav.˙ œho

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ho

ho

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a

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ri

ov

ov

da

da

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vi

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yav.˙ œho

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ov

da

da

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ho

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ca

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vna

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xe

xe.˙ œho

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da

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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

?

?

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i

i

a

a

i

i

a

a

i

i

a

a

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var

skvla

skvla

veb

veb

sa

sa

.˙ œho

ho

ho

ho

œ œ œ œhe

he

a

a

va

va

ha

ha

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a

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var

skvla

skvla

veb

veb

sa

sa

.˙ œho

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he

a

a

va

va

ha

ha

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

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

V

V

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42

42

42

42

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

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

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

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ha

i

i

a

a

jœ# jœ œa

a

ri

ri

a

a.œ ‰vo

vo

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i

o

o

Moderato A112

œ œi

i

a

a

œ# œi

i

o

o

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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

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o

o

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i

o

o

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vo

ho

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œ œi

i

o

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i

o

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ho

ho

∑

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vo

de

de

la

la

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i

o

o

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vo

ho

ho

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i

o

o

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o

o

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i

o

o

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vo

ho

ho

∑

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a

a

vo

vo

∑

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o

o

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i

o

o

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i

o

o

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vo

ho

ho

œ œvo

vo

ho

ho

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i

o

o

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voQ

da

da

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vo

ho

ho

œ œvo

vo

ho

ho

V

V

?

?

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i

o

o

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i

o

o

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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

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

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œ Œ

œ Œ

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vo

ho.

ho.

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vo

ho.

ho.

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vo

ho.

ho.

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vo

ho.

ho.

˙

˙

˙

˙

˙

˙

˙

˙

˙

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˙

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œ Œ

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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

?

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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

?

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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

∑

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haha

haha

haha

haha

w

∑

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∑

.œ jœ jœ jœ jœ jœvovo

ii

nana

nana

sasa

vovo

∑

a tempo

∑

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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

∑

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ii

dada

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ii

dada

∑

∑

∑

wvovo

∑

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didi

lala

didi

lala

didi

lala

vovo

w

∑

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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

∑

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haha

hehe

hehe

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∑

˙ Œhehe

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ruru

didi

lala

vovo

∑

˙ .œ JœvaQvaQ

haha

aa

poco a poco accelerando

Œ Rœ Rœ Rœ Rœ .œ ‰ii

ruru

didi

lala

vovo

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vovo

riri

vovo

dede

lili

aa

dada

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aa

hehe

aa

vava

∑

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dede

lolo

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hehe

aa

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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

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hehe

aa

vava

∑

. .˙ ‰dada

. .˙ ‰dada

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lala

vovo

didi

laQlaQ

∑

∑

∑

∑

.œ Jœ œ œvovo ri

ri vovvov

dede

∑

∑

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aa

sasa

vovo

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dede

lala

didi

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dede

lala

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whehe

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haha

hoho

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vovo

hoho

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.˙ 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

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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

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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

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ho.

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Adagio A67

Ó Rœ Rœ Rœ Rœ RœRœ Jœ

u

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ru

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jœ jœ jœ Jœ Jœ Jœ Rœ Rœ Jœva

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poco a poco accelerando

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Jœ Jœ Jœ Jœ JœbJœ RœnRœ Jœ

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az

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ho

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- - - - -

- - - - -

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

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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

∑

∑

∑

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240

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242

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243

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244

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246

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248

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249

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250

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∑

∑

.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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278

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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

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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

∑

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da

da

œ œheQ

heQ

da

da

jœ jœ œi

i

av

av

da

da.œ ‰

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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

∑

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heQ

da

da

œ œheQ

heQ

da

da

jœ jœ œi

i

av

av

da

da.œ ‰

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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

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ri]

ri]

he

he˙ .Jœ R¿

he

he

u

u

Jœ Jœ Jœ Jœb Jœ ‰[Sua

[Sua

gav

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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

∑

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heQ

da

da

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[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

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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

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308

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- - - - - - - - - -~ ~~ ~

309

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- - - - -

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311

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312

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~~~~~~- - - - - - - - -

- - - - - - - - -

~~~~~~

313

V

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314

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~~~~~~~

~~~~~~~

~~~~~~~~~~~~- - - -

- - - -

~~~~~~~~~~~~

315

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Adagio A67 poco a poco accelerando al A112

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i

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- - - - -

- - -- -

316

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- - - - - -

- - - - -

- - - - -

- - - - - -

317

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- - - - -

-- - - -

- - - - -

- - - - -

318

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- - -

- -- -

- - - -

- - -

319

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∑~~~~~~~~~~~~~~~- - - - - -- - -- - -

349

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351

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

352

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354

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Moderato A120

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˙ .œ ‰hoho

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ii

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∑

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

355

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44

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- - - - -- - - - -

356

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∑

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~~

~~~

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- -- -

357

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meme

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~~~~~~

- - -

- - - - -

- - -

-- -- -

358

V

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359

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- -- -

360

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∑

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- - - - - -

- - - - -

- - - - - -

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361

V

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362

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363

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~~~~~~- - - - - -- - - - - -

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364

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~~~~~~~~ ~~~~- - - -- - - -

365

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∑- - - - - - - -- - - - - - - -

366

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Andante A92

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˙ .Jœ Rœ Jœ Œ .hoho

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∑

∑

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- - -- - -

367

V

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∑

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Allegro A126

Jœ Jœ œ Jœ Jœ œvovo

dede

lala

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∑

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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.˙ ¿

QQ

∑

∑

∑

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

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?

### # #

# # # # #

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42

42

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44

44

44

44

44

44

42

42

42

42

42

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44

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˙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

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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

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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

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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

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ma

gi

gi

e

e

rad

rad

Se

Se

ni

ni

i

i

yos

yos

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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

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o

ri

ri

vo

vo

ho

ho

o

o

ho

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ho

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o

o

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vo

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ho

o

o

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o

ri

ri

vo

vo

ho

ho

o

o

ho

ho

ho

ho

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

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

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

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-

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-

-

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-

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V

V

?

.œ Jœ# .œ Jœo

o

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i

i

a

a

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o

do

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i

i

a

a

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o

do

do

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i

a

a

Jœ Jœ Jœ Jœ# Jœ Jœ Jœ Jœma

ma

gi

gi

e

e

rad

rad

Se

Se

ni

ni

i

i

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ma

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e

rad

rad

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ni

ni

i

i

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ma

gi

gi

e

e

rad

rad

Se

Se

ni

ni

i

i

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yos

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o

do

do

o

o

do

do

i

i

a

a

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o

o

o

do

do

i

i

a

a

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o

o

o

do

do

i

i

a

a

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o

ri

ri

vo

vo

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o

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o

o

ho

ho

ho

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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

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rac

ki

ki

na

na

xo

xo

ne

ne

dli

dli

ta

ta

ro

ro

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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

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ho

o

o

ho

ho

ho

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o

o

ri

ri

vo

vo

ho

ho

o

o

ho

ho

ho

ho

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o

ri

ri

vo

vo

ho

ho

o

o

ho

ho

ho

ho

- - - - - - - - - -

- -- -- - - - - -

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

V

V

?

42

42

42

.œ Jœ# .œ Jœo

o

do

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i

i

a

a

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i

i

a

a

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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

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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

∑

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ho

∑

∑

∑

˙ Óho

ho

∑

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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

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vo

wvo

vo

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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

∑

∑

∑

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vo

ho

ho

˙ ˙vo

vo

ho

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ho

œ œ œ œvo

vo

de

de

la

la

da

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vo

wvo

vo

∑

∑

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œ œ œ Œvo

vo

ho

ho

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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

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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

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ho

ho

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ho

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∑

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ho.

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ho.

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ho.

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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

∑

∑

∑

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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

∑

∑

∑

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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

∑

∑

∑

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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

∑

∑

∑

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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

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vo

ho

ho

wvo

vo

˙ Óho

ho

˙ Óho

ho

˙ Óho

ho

˙ .œn Rœ Rœha

ha

di

di

la

la

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ho

ho

ho

w

∑

∑

∑

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ho

di

di

la

la

vo

vo

de

de

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mo

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∑

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∑

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la

ho

ho

ho

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ho

ho

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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

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ho

∑

∑

∑

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ho

ho

ho

ho

ho

ho

ho

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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

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b b b b b

˙ Óho.

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ho.

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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

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molto accelerando - A77 DF A126

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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

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##

# #

# #

.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

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# #

# #

.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

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nana

dada

œ œ .œ ‰nana

nana

dada

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dada

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hoho

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.œ Jœ œ œ œ œ ≈vovo

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hoho

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.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

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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

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##

# #

# #

.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

- - - - -

- - - - -

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.œ Jœ œ Jœ ‰vovo

hoho

hoho

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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