cello.ly

cello = \new Voice { \relative c {
  \set Staff.instrumentName = #"Violoncello "
  \clef bass

%% page 1.1
  r16\p cis16-. g'-. r r2 |           % bar 1
  r2 r8\pizz b,-. |
  <g' e>4.\f\arco r8 <c d,?>\pizz r |
  r4\arcosulpont\p
  \times 2/3 { f,?16-.\upb( f-. f-. } f-.)
  r16 r4 | % bar  4
  r8\nat <a e'\harmonic>8\upb
  <ees c>8-.\dob[ r16 <ees c>-.] r4		| % bar  5
  r4\sulpont \clef tenor
  f'2:32\fp								| % bar  6

%% page 1.2
  gis2:32\fp r16\nat e16\dob\f e\upb r 		| % bar  7
  \clef bass r8 
  \once\autoBeamOff
  <bes, g>~\upb\p <bes g> r r4			| % bar  8
  \set subdivideBeams = ##f
  \times 2/3 {r8( b'-- b--)~ }
  b16 b-. b-. b-.
  \clef treble c'4:32\sulpont				| % bar  9
  c2.:32\fp									| % bar 10
  b2.:32\fp									| % bar 11
  \textSpannerDown
  dis16\nat\ff r8. \clef bass
  \override TextSpanner #'(bound-details left text) = "rit."
  \override TextSpanner #'(bound-details right text) = " a tempo"
  \override TextSpanner #'(bound-details right attach-dir) = #LEFT
  \times 2/3 { <gis,, c\harmonic>2\upb--\p\startTextSpan(
               <b e\harmonic>4--\stopTextSpan) }
  \breathe |                    % bar 12. FIXME: caesura collides with note

%% page 1.3
  \textSpannerUp
  \stemUp r16
  \override TextSpanner #'(bound-details left text) = "accelerando"
  \override TextSpanner #'(bound-details right text) = " a tempo"
  \override TextSpanner #'(bound-details right attach-dir) = #LEFT
  gis,\p( a'8)
  r4 r8\startTextSpan c,,16( d'?) | % bar 13
  R1*3/4 |
  \stemNeutral
  f'?16\ff( gis,) r8 
  r8 <e\harmonic g,>16-.\p
  <e\harmonic g,>-. r4 |        % bar 15
  r2\stopTextSpan r8\mf <aes, f>~ |
  q\p r8
  \clef tenor
  \revert TupletBracket #'bracket-visibility
  \times 2/3 { a'!4.\mf^- bes'8 g,4 }		| % bar 17
  \override TextSpanner #'(bound-details left text) = "rit."
  \override TextSpanner #'(bound-details right text) = " a tempo"
  \override TextSpanner #'(bound-details right attach-dir) = #LEFT
  \clef bass cis,,2.\startTextSpan		| % bar 18

%% page 1.4
  d16_>\mf\stopTextSpan ees'8.~ ees4~ 
  ees8 f16\pizz fis'						| % bar 19
  r16\p b,, c' r16 r8. \p 
  \autoBeamOff
  dis,16 e' r8.							| % bar 20
  \autoBeamOn
  r16 a,,16 bes' r16 r2					| % bar 21
  r16 cis,16 d' r16 r2						| % bar 22
  r8.\arco b,16( c'16)[ r8 cis16]( g,16) r8.	| % bar 23
  \time 1/4
  R1*1/4									| % bar 24

%% page 1.5
  \time 3/4
  e16 f' r8 r8 cis16 d' r4				| % bar 25
  \mark #1
  r2 r8\f dis,,8\pizz 					| % bar 26
  r16\arco\p b'16 ais' r16 r4 r8 cis,16 g'	| % bar 27
  r4 d,16 ees' r8 r16 b16 c' r16				| % bar 28
  \times 4/5 { gis,8:32\sulpont a': fis: c: d': } 
  ees,4									| % bar 29
  b16\pizz c' r8 \clef treble <ais' fis>16->\arco[\f
  %% A brace in the reduction suggests this forte applies to both
  %% staves and not onyl to the upper one; It is missing in part as
  %% well as accents which were turned into stacatto dots.
  r8 q16->] r8 q16[ r] | % bar 30.
  %% The last chord and rest are truncated in the part photo.

%% page 1.6
  \clef bass
  \times 2/3 { g,,4\pizz f' e' } r4			| % bar 31
  \times 3/5 { gis,,4_- a'^- fis^- c,_- 
               \stemUp d'_- }							| % bar 32
  \stemNeutral
  r4 \times 2/3 { g,4_- f''^- e,^- }			| % bar 33
  \time 2/4
  r8 \clef tenor aes'16\dob\fp aes\upb~\( 
    aes8 g,16\f\) r16						| % bar 34
  \time 3/4
  r8 dis''16_\dob dis_\upb r4
  r16 <e, cis>^. q^. q^.					| % bar 35

%% page 1.7
  \time 2/4
  \mark #2
  R1*2/4 |                      % bar 36
  \time 3/4
  b'4^>\f f^> <d b>^>						| % bar 37
  \times 2/3 { e4 f, g'~ } g4\p~				| % bar 38
  g8 r \times 2/3 { c,4 fis, a' }				| % bar 39
  gis,16\f\dob gis\upb r8 r2					| % bar 40
  r4 fis16( g') r8 ais,16( b') r8				| % bar 41
  \clef bass

%% page 1.8
  r4 r16 dis,,\upb\( g a\)
  r16 f16\dob gis,\upb r16			 	| % bar 42. Reharsal letter C in reduction.
  b4:32
  \stemUp
  \times 2/3 { dis: g,: 
               \stemNeutral a': }					| % bar 43
  r16 f,16\dob gis'\upb r16
  r8 c,\upb r16 ees\dob f\upb r			| % bar 44
  a,16\dob gis'8. gis,16\upb\( dis' c! \) r16
  r16 gis16\( d'' c,\)					| % bar 45
  \time 1/4
  r8 gis''16 r16							| % bar 46

%% page 1.9
  \mark #3
  \time 3/4
  a,16\( g ees\) r16 r16 f\( gis b\) 
  f\(gis b\) r16							| % bar 47
  r16 a16\( gis f\) ees\( g a\) r16 
  r16 a\( gis f\)							| % bar 48
  a8[ r16 gis16]\( c d\) r8
  \clef tenor r16 bes'\( f! e\)			| % bar 49
  r4 r8 \clef bass b,16^. c'^. r4				| % bar 50

%% page 1.10
  \time 2/4
  f4\accent\f r8 b,8\accent~				| % bar 51
  \time 3/4 b8 r8 r2 					| % bar 52
  r4 \times 2/3 {f4\tenuto\p fis,4\tenuto gis'4\tenuto}	| % bar 53
  d16\upb( fis16) r8 r16 a16\upb( b16) r16 b16\upb( e16) r8		| % bar 54
  r4 \times 2/3 {cis,4\tenuto c,!4\tenuto d'4\tenuto}	| % bar 55
  r8 d,16\upb( ees) b( c') r ees\upb(

%% page 1.11
  f') gis,( a') r |              % bar 56
  \mark #4
  r16 bes,16\upb( g16 e16) r16 gis16\upb( fis16 e16) r16 gis16\upb(\( fis16 d16) 	| % bar 57
  c8\) cis16( a'16 ais16[ fis16) r16 c16] a'16( bes,16 f'8) 		| % bar 58
  d16( e16 b'16 cis,16) r16 gis'16( fis16 cis'16 ais16[) r16 f16( c'16]	| % bar 59
  \time 2/4
  b16[ ais16) r16 gis16]( e16 b'16 g8~ 			| % bar 60

%% page 2.1
      g8) b16( e,16 gis16) r8.					| % bar 61
      \time 3/4
      r16 b,16\upb( cis'16) r16 r16 dis,,16\upb( cis'16 gis'16) r16 bes,16\upb( c'16) r16	| % bar 62
      e,16\upb( cis'16) r8 ais,16\upb( gis'16) r16 dis'16\upb[( cis16 gis'16]) r8		| % bar 63
      b,,16\upb_\markup{ "(" \dynamic "p" ")"}( d16 e16) r16 a16\upb( cis,16 fis16) r16 r4	| % bar 64
      \times 4/5 {dis8:32\sulpont b'8:32 ais'8:32 cis,8:32 g,8:32} r4			| % bar 65

%% page 2.2
      r2 r16\nat cis16\staccato g'16\staccato dis16\staccato				| % bar 66
      \mark #5
      a'16\staccato r8. b,16\pizz c'16 r8 b4~\mf\arco		| % bar 67
      \times 3/5 {b4 ais,4\tenuto cis'4\tenuto g,4\tenuto f''4\tenuto} 	| % bar 68
      e,4\tenuto r2								| % bar 69
      r8 cis16\staccato d'16\staccato ais4\tenuto r4			| % bar 70
      r4 a'16( b,,16) r8 r16 c'16( g,16) r16			| % bar 71

%% page 2.3
      r4 \times 2/3 {c'4\tenuto\mf b,4\tenuto d'4\tenuto}	| % bar 72
      gis,,4\tenuto r2						| % bar 73
      r4 r16 d''16\pizz gis,16 r16 r4				| % bar 74
      b,16\arco( c'16) r8 \times 2/3{ cis,4\tenuto b'4\tenuto dis,4\tenuto} 	| % bar 75
      \times 2/3 {a'4\tenuto g,4\tenuto r4} r4			| % bar 76
      bes16\pizz e16 r8 r8 c'16 fis16 r4			| % bar 77

%% page 2.4
      R2.							| % bar 78
      r4 r8 f,8\staccato\arco c'4\fp~ 				| % bar 79
      c8 r8 f,,8\pizz r8 r4					| % bar 80
      \times 2/3 {gis16\staccato\accent( gis16\staccato gis16\staccato} gis16\staccato) r16 r4. <ais' dis\harmonic>8\f  	| % bar 81
      <fis, a>8\dob[ r16 <fis a>16\dob] r2			| % bar 82
      \time 2/4						
      b'2:32\fp\sulpont					| % bar 83
      \time 3/4
      \clef tenor <e g>2:32\fp \clef bass r16 <b, ais'>16\nat\mf\dob <b ais'>16\upb r16	| % bar 84

%% page 2.5
      r8 cis8~\p\upb cis8 r8 r4				| % bar 85
      \times 2/3 {r8 fis8\tenuto fis8~\tenuto} fis16 fis16\staccato( fis16\staccato fis16\staccato) \clef treble c''4:32\sulpont	| % bar 86
      c2.:32\fp						| % bar 87
      a2.:32\fp \clef bass					| % bar 88
      \mark #6
      \override TextSpanner #'(bound-details left text) = "rit."
      \override TextSpanner #'(bound-details right text) = " a tempo"
      \override TextSpanner #'(bound-details right attach-dir) = #LEFT	
      <g,, e'\harmonic \parenthesize a'>16 r8. \times 2/3 {<f bes\harmonic>2\p\startTextSpan \clef tenor a''4\tenuto\flageolet}   | % bar 89
      \clef bass r16\stopTextSpan dis,,16\upb e'16 r16 r4 r8 			
      \override TextSpanner #'(bound-details left text) = "accelerando"
      \override TextSpanner #'(bound-details right text) = " a tempo"
      \override TextSpanner #'(bound-details right attach-dir) = #LEFT
      g,,16\upb\startTextSpan bes'16
%%%%%
      R2.							| % bar 91
      r4 r8 <gis, cis\harmonic>16\staccato\upb\p( <gis cis\harmonic>16\staccato) r4 			| % bar 92
      \times 2/3 {e4.\tenuto\stopTextSpan\mf f''8\tenuto g,,4\tenuto} r8 d'8\sf~			| % bar 93
      d8\p r8 \times 2/3 {e'4.\mf\tenuto dis,8\tenuto cis'4\tenuto}					| % bar 94
      f,,2\p\accent^\markup{ \italic "rit."} r8 <c' b'>8\f\pizz						| % bar 95
      r4 r16 d'16\staccato\f r8 r8 e16 dis,16						| % bar 96
%%%%%
      r4 r16 c16\staccato\p fis16\staccato g,16\staccato gis'4\accent\arco				| % bar 97
      dis16\staccato\pizz a16\staccato r8 r16 d'16 cis,16 r16 r8 <dis a'>8\arco\f(			| % bar 98
      <g,~ dis'>8 <g fis'>8) r4 \override Beam #'breakable = ##t \times 4/5 {gis8:32\fp\sulpont[ fis'8:32 f,16:32  	| % bar 99
  f16: cis'8: dis,8:]} e'4 \times 4/5 {gis8:32\fp[ a,8:32 fis'16:32		| % bar 100
        fis16:32 b8:32 ais'8:32]} cis,,4 r4					| % bar 101
        r2 \times 4/5 {a8:32\fp[ bes8:32 g16:32
        g16:32 d8:32 b'8:32]} c4 r4
        r2 \times 4/5 {g'8:32[\fp bes,8:32 a'16:32 | % bar 104
%%%%%
        a16:32 d,8:32 b'8:32]} c,4 \times 4/5 {b'8:32\fp[ ais,8:32 cis'16:32
        cis16:32 fis,8:32 a,!8:32]} gis'4 \times 4/5 {c!8:32\fp[ b,8:32 d'16:32
        d16:32 a8:32 bes,8:32]} g'4 r4
%%%%% | % bar 108
        R2.
        \mark #7
        \time 2/4 R2
        \time 3/4
        \times 3/5 {e,4\f\pizz f'4 g,4 ees'4 d,4}
        c'4 \times 2/3 {b4 ais'4 cis,4}
        \times 3/5 {gis'4 a,4 fis'4 b,4 ais'4}
        cis,4 r2
        r4 \times 4/6 {f,4 fis'4 g,4
%%%%% | % bar 115
        cis,4 d'4 e,4~\arco} e4~\p
        e2~ e16 r8.
        \times 2/3 {b'4\tenuto ais'4\tenuto cis,4\tenuto} r4
        r16 c'16\staccato b,16\staccato r16 r8 <c fis~>8\accent\fp( <g fis'>8) r8
        r4 gis16\f( cis8) a16( b8) f16 r16
        e16( cis'8) fis,16( gis'8.) a16( dis8) e8
%%%%% | % bar 121
        f,16[( b16) r16 ais16]( d4~) d8 r8
        r4 r16 d16\staccato cis,16\staccato g16\staccato aes'16\staccato r8.
        r8 g16\f( fis,16) r16 cis16\upb( d'16) r16 r4
        r8. b16\fp( e16) d16\staccato gis16\staccato r16 r4
        \mark #8
        r4 r8 cis8\fp( \times 2/3 { d8) a8. g16}
%%%%% | % bar 126
        r8 b8\staccato a16( f8.) \clef tenor \times 2/3 {g'4\tenuto cis,8~\tenuto[
        cis8] e4\tenuto} a4\tenuto \clef bass r8 cis,,8\f\pizz
        \compoundMeter #'((4 4) (1 8))
        r4 c,16\ff\arco\dob des'16 r8 r16 cis,8\marcato r16 r16
        gis'16\p\pizz a'16 r16 r8
        
        \time 3/4 c,,16\arco( gis''8.) r4 r8 fis,16\pizz gis'16
%%%%% | % bar 131
        r4 r16 g,16( aes'16) r16 r4
        r8. d16( cis,8) r8 r8 f16\pizz e,16
        r8 bes''16 a,16 r8 c?8\f\marcato r8. dis16\marcato
        r8 e8\accent cis16\fp\arco[ gis8.~] gis8.[ a'16\f]
        \time 2/4
        cis2:32\fp
        \mark #9
        \time 3/4
        cis2.:32\fp
%%%%% | % bar 137
        r4 des,16\f\pizz c,16 r8 r8 c16\ff\arco\upb des'16\dob
        r4 <c f\harmonic>2:32\fp
        <c f\harmonic>2.:32\fp
        <a' d\harmonic>2.:32\fp
        <b e\harmonic>2.:32\fp
        <a d\harmonic>2.:32\fp
        <a d\harmonic>16\staccato\f <a d\harmonic>16\staccato r8 r2
        r8. ges16( f,16) r8. c'16\dob c16\upb r8
%%%%% | % bar 145
        r2 des'16\f c,16 r8 |
        \compoundMeter #'((3 4) (1 8))
        \clef tenor r4 <e' g>2:32\ff q8: |
        \time 3/4
        r4 \clef treble r8 d'8~\mf( d16 cis,8.)
        gis16\p\pizz a'16 r8 r2
        \clef bass \time 2/4
        r8 dis,,,16( e'16) r4\fermata \bar "||" 
        \time 3/4
        R2. \tempo "Poco meno mosso"
%%%%% | % bar 152
        <g bes>16\f\dob\sulpont <g bes>16\upb r8 r8. <g bes>16 r4
        r2 r8 <g bes>16\dob <g bes>16\upb
        r2 r8. cis,16\pizz
        r4 r8 \clef tenor <b' d>4.:32\fp\arcosulpont
        <b d>4.:32 dis4.:32\fp
        <cis e>4.:32 g'4.:32\fp
        f4.:32 c'4.:32\fp \clef treble
%%%%% | % bar 159
        ces4.:32 ees4.:32\fp
        b2.:32\fp \clef bass
        r4 <cis,,,\harmonic gis'\harmonic>4\pizz r4
        \mark #10
        r2 <c\harmonic g'\harmonic>4
        R2.
        b'8 r8 r4 r8 ees'8
        r4 r8 g,,8 r4
        r4 g8\tenuto\p\arcosulpont g8\tenuto\f r4
%%%%% | % bar 167
        \times 4/5 {r16 aes16\staccato\f c16\staccato des'16\staccato r16} r2
        \times 4/5 {r16 aes,16\staccato c16\staccato des'16\staccato r16} r2
        \times 4/5 {r16 aes,16\staccato c16\staccato des'16\staccato r16} r4 r8 c,16_\markup{ ( \dynamic f )}\staccato fis16\staccato
        r2 r8 cis,8\p\pizz
        <c\harmonic a'\harmonic>4\arco r2
        ais'16\f\upb( b'16) r8 cis,8\tenuto\p\upb cis8\tenuto\f r4
%%%%% | % bar 173
        \times 4/5 {r16 c,16\staccato\sulpont cis'16 gis'16 r16} r2
        \mark #11
        \times 4/5 {r16 c,,16 cis'16 gis'16 r16} r4 c,8\p c8\f
        r2 r8 ees16\staccato\f a16\staccato
        r2 r8 cis,,8\p\pizz
        a''4\tenuto\arco r8 f'8\pizz r4
        cis,,16\ff\arco( d'16) r8 b8\tenuto\p\sulpont b8\tenuto\f r4
%%%%% | % bar 179
        \times 4/5 {r16 ges16\nat\f( f'16 ees'16) r16} r2
        \times 4/5 {r16 ges,,16( f'16 ees'16) r16} r2
        r2 b?16\fp\dob[ b16\upb r16 b16]
        r8 cis8\f \times 4/5 { r16 gis16\pp\sulpont a,16 c!16 r16} r4
        \times 4/5 {r16 gis'16( a,16 c16) r16} r16 c'16\nat\mf( d,16) r16 r8. ees'16\sulpont\pp
%%%%% | % bar 184
        \times 4/5 {r16 g,16\f( b16 cis,16) r16} r8. f16\p\nat^\markup{ "ACCELERANDO"}( g,16 e'16) r16 cis'16(
        b,16 ais'16) r8 r2 \breathe \bar "||"
        \tempo "Tempo 1º" 4=100 R2.*2
        r2 cis,16\p( d'16) r8
        r4 f8\marcato\f\pizz r8 r4
        r4 fis16\arcosulpont\ff\accent fis16\accent r8 r4
%%%%% | %BAR 191
r4 r16 ees,16( d,16) r16 r4
r4 r16 e'16\p\nat( f'16 g,,16 cis'4)
ais,16( b'16) r8 b,16( c'16) r8 r8 cis16\ff\staccato cis16\staccato
        r8 a'8 r2
        \bar "||"
        \mark #12
        \tempo "Poco meno mosso"
        <cis,,, fis\harmonic>8\p r8 r2
        r4 d'8\pizz\flageolet r8 r4
%%%%% | % bar 196
        fis,16\f\arco( a'16) r8 c,8\p\tenuto\flageolet c8\f\tenuto\flageolet r4
        r4 bes8\p\tenuto bes8\f\tenuto r4
        cis4\p r4 e,8\p\tenuto e8\f\tenuto
        r2 r8 ais16\staccato\p b'16\staccato
        r2 r8 gis,8\staccato
        c,8\staccato r8 r8 b'8\pizz r4
        gis16\f\arco( fis'16) r8 a,8\tenuto\p a8\f\tenuto r4
%%%%% | % bar 204
        \times 4/5 {r16 dis,16\staccato\f e'16\staccato gis16\staccato r16} r2
        \repeat unfold 2 {\times 4/5 {r16 dis,16\staccato e'16\staccato gis16\staccato r16} r2}
        \mark #13
        r2 r8 f,8\f\pizz
        r4 r8 bes'8\p\staccato r4
        cis,16\f\arco( dis'16) r8 <c,,! f\harmonic>8\p\tenuto <c f\harmonic>8\tenuto\f r4
        \repeat unfold 2 {\times 4/5 {r16 ges'16\f\sulpont( f'16 a16) r16} r2}
%%%%% | % bar 212
        R2.
        \times 4/5 {r16 gis16\f( a16 fis16) r16} r4 r8 a,8\pizz\mf
        \times 4/5 {r16 gis'16\f( a16 fis16) r16} r2
        \time 2/4 \times 4/5 {r16 g,16\p( bes'16 a,16) r16} r16 f''16\nat <fis, b\harmonic>16 r16
        \time 3/4 r4 r8 <g, e'\harmonic \parenthesize g'>8 r4
%%%%% | % bar 216
        \tempo "Tempo 1º" 4=100
        \times 4/5 {r16 f16\p( aes16 ges'16) r16} r2
        \times 4/5 {r16 e16( g16 f'16) r16} r4 r8 c8\pizz
        \mark #14
        r4 \times 4/5 {gis,8:32\arcosulpont a': fis,: d': c':} % bar 217 --EB
        \time 2/4 r8 <dis,, gis\harmonic>8\p \times 4/5 {e'8:32\pp[ f'8:32 g,16:32
                                                         \time 3/4
                                                         g16:32 cis8:32 ais,8:32]} r2
        \times 4/5 {g8:32\pp f'8:32 e,8:32 b'8:32 cis'8:32} r8 <bes, ees\harmonic>8\p
%%%%% | % bar 223
        R2.
        \times 4/5 {ais8:32\pp b'8:32 cis,8:32 d,8:32 dis'8:32} r8 <c f\harmonic>8\p
        r2 \times 4/5 {e8:32\pp[ f'8:32 g,16:32
                       g16:32 b,8:32 cis'8:32]} r8 <ais dis\harmonic>8\p r4
        r2 \times 4/5 {a8:32\pp[ gis,8:32 fis'16:32
                       fis16:32 d8:32 ees'8:32]} r8 <c, f\harmonic>8\p r4
%%%%% | % bar 229
        r4 \times 4/5 {f,8:32\pp fis'8:32 gis,8:32 g'!8:32 bes,8:32}
        \mark #15
        r8 <a d\harmonic>8\p r2
        \times 4/5 {dis,8:32\pp e'8:32 cis8:32 a'8:32 bes,8:32} r8 <c,\harmonic ees\harmonic \parenthesize g''>8\p
        r2 \times 4/5 {f8:32\pp[ fis'8:32 gis,16:32
                       gis16:32 d'8:32 b'8:32]} r8 <c, f\harmonic>8\p r4
        r2 \times 4/5 {e,8:32\pp[ f'8:32 g,16:32
                       g16:32 cis8:32 ais'8:32]} r8 <g, e'\harmonic>8\p r4
%%%%% | % bar 236
        \times 4/5 {ees'8:32\pp d,8:32 c'8:32 ais8:32 b'8:32} r8 <cis, fis\harmonic>8\p
        r4 \times 4/5 {d8:32\pp b8:32 c'8:32 fis,8:32 f,8:32}
        \mark #16
        r8 <gis cis\harmonic>8\p r4 \times 4/5 {f8:32\pp[ fis'8:32 gis,16:32
                                                gis16:32 a'8:32 bes,8:32]} r8 <g c\harmonic>8\p r4
        \times 4/5 {dis8:32\pp e'8:32 cis,8:32 g''8:32 bes,8:32} r8 <d a'\harmonic>8\p
        r4 \times 4/5 {e8:32\pp dis,8:32 cis'8:32 g8:32 a'8:32}
%%%%% | % bar 242
        r8 <bes, ees\harmonic>8\p r4 \times 4/5 {a'8:32\pp[ gis,8:32 fis16:32
                                                 fis16:32 d8:32 ees8:32]} r8 c'8\p\flageolet r4
        \times 4/5 {e8:32\pp dis,8:32 cis'8:32 g'8:32 bes,8:32} r8 <d! a\harmonic>8\p
        r4 \times 4/5 {gis8:32\pp a,8:32 fis'8:32 c8:32 d'8:32}
        r8 <dis, gis\harmonic>8\p r2
        \time 2/4 \times 4/5 {dis8:32 e'8:32 cis,8:32 g8:32 bes'8:32} \time 3/4 \bar "||"
%%%%% | % bar 248
        R2.
        \clef treble dis4.:32\fp a'4.:32\fp
        fis4.:32\fp c'4.:32_\markup{ "simile"}
        gis4.:32 d'4.:32
        b4.:32 f4.:32
        f8\dob\f r8 r4 r8 f8\dob
        R2. 
        \clef bass dis,16\nat\f\dob dis16\p\upb r8 r2 

%%% Exeunt Ryan McClure
%%% FIXME: Substract 2 from previous bar count

%% "Vta. rápida" in part.
%% page 5.1
r2 b'16\pizz\p ais, cis, r |    % bar 254
r2 r8 fis |
r4 fis16\dob\f\arco fis\upb\p r8 r4 |
r4 dis16\dob\f dis\upb\p r8 r4 |
\mark #17
gis16\pizz                      %  pizz. shifted right in the part.
      a' r8 r4 f,16\arco\dob\mf f\upb r8 |
c16\p-. des'-. r8 r4 r8 c,16 des' |

%% page 5.2
r8 c,16\f\dob c\upb r2 |        % bar 260
r4 f8\ff r r4 |
r4 a'16\p-. gis,-. c-. r  r4 |
r8 g'16(\f fis,) r8 c16\ff f r4 |
r4 <d' a'\harmonic>8\p\pizz r r4 |
<g, d'\harmonic>8 r r2 |
<d' c'>8\f r r q4\upb\arco cis,8\pizz |

%% page 5.3
R2. |                           % bar 267
r8 <f' bes\harmonic>8\ff\arco   % arco missing in part.
      r4 r8 ees'16\f( d,) |
\mark #18
r4 \tuplet 3/2 { r8 fis'8\p d, } r4 |
\tuplet 3/2 { e,4-- f'-- g'-- } r4 |
f,16\f r8. r8 des'\pizz r8. d,!16 |
r8 c,16\dob\piuf c\upb r4 r16 c''\pizz\p b, r |

%% FIXME: Add 10 to the following bar count
%%% Enter Peter Wannemacher

%{
Engraver notes:
  Measure numbers are not necessarily accurate.
Rehearsal mark indications, page numbers and staff numbers accurately reflect the original part.
%}

  %263 page 5 staff 4 
  \time 2/4
  R2*1  |
  
  %264
  \time 3/4
  R2.*1  |
  
  %265
  r2^arco e,16\downbow e\upbow r8 |
  
  %266   % error in numbering -- does not exist  
  
  %267
  \times 2/3 { b'4 c' <d, g\harmonic> } r4 |
  
  %268
  d,16->\fp_( gis'8._~gis4) r16\f a( gis,) r |
  %269
cis,16-. \downbow cis-. cis-. r r4 r16\p cis -. cis -. cis -. | 
  
  %270 
 cis16-. \f cis-. cis-.  r ais'8\p ^pizz r8 r4  |
 %%\break
 
  %271  page 5 staff 5
  \repeat tremolo 12 {c'32\fp\arcosulpont}
  \repeat tremolo 12 {es32\fp}  |
  
  \clef treble
  \mark #19
  
  %272 
  \repeat tremolo 12 {fis32\fp}
  \repeat tremolo 12 {fis32\fp}  |
  %273 
  \repeat tremolo 12 {g32 _\markup { \italic simile }}
  \repeat tremolo 12 {b32}  |
  
  %274 
  \repeat tremolo 12 {cis32} r8  \times 2/3 {r8 \clef bass ees, \f d,  }  |
  %275  
  r4 c,8-^ r8 c16\downbow c16\upbow r8  |
  \bar "||" 
  
  %276  
  dis'8\downbow r8 r4 a8^"pizz." r  |
  %277  
  \repeat tremolo 24 {d32\fp\arcosulpont} |
  %%\break                                                                           
  %278 page 5 staff 6
  r8 b8\f r4 r16 <fis' a>16\downbow q\upbow r |
  
  %279
  r8. c,16 \downbow r4\repeat tremolo 8 {a'32\fp}        |
  %280
  \repeat tremolo 8 {a32\fp} <gis, fis'>8[ \f \downbow r16 q16] r4|
  
  %281
  r4\p \times 2/3 { e4-- f'-- g,-- }
  
  %282
  \mark #20  
  \time 4/4
  R1*1   |
  %283
  \time 3/4
  r4 \times 4/5 {
    \repeat tremolo 4 {e32\f}
    \repeat tremolo 4 {f'32}
    \repeat tremolo 4 {g,32}
    \repeat tremolo 4 {cis'32}
    \repeat tremolo 4 {ais,32}
  }
  %%\break
  %284  page 5 staff 7
  b'4 \times 4/5 {
    \repeat tremolo 4 {e,,32}
    \repeat tremolo 4 {dis'32}
    \repeat tremolo 4 {cis,32}
    \repeat tremolo 4 {g'32}
    \repeat tremolo 4 {bes'32}
  }
  |
  %285
  \time 2/4
  a,4 r   |

  %286
  \time 3/4
  r2 <f' bes\harmonic >8 r |

  %287
  r2 r8 gis\downbow \f   |

  %% From now on, corrected bar count -- EB
  
  %297 and 298
  R2.*2 |    
  
  %299
  <gis' cis\harmonic>4\p e,8[\downbow\f r16 e16]\downbow r4|
  
  % 300
  r4 \clef tenor \repeat tremolo 16 {fis''32\fp}  |
  
  %%\break
  % 301 page 5 staff 8
  \repeat tremolo 16 {a32} \clef bass r16^pizz b,, c' r |
  
  % 302
  r8^arco cis,,4\upbow r8 r4 |
  
  % 303
  \times 2/3 { r8 fis' fis~ } fis 16 fis-. fis-. fis-. r4 |
  
  % 304 circle 21
  \mark #21
  fis16\downbow\fp fis \upbow r8 r4 r8.^pizz\f g,16 |
  
  % 305
  R2. *1 |
  
  % 306
  r16^arco d8.~ d2 |
  
  % 307
  gis8 r r4 d'8 r8  |

  %%\break
  % 308 page 5 staff 9
  \repeat tremolo 24{e,32^"s. pont." ^arco\fp} |

  % 309
  ais16\ff( e') r8 r8\p <d, g\harmonic>16 <d g\harmonic> r4  |
  
  % 310
  r2 r8 ais'\sf~ |
  
  % 311
  ais8 r8 \clef tenor \times 2/3 { c'4.--\mf <a e'\harmonic>8 es'4 }
  
  % 312
  \clef bass
  \times 2/3 { b,4--\p ais' <cis, fis\harmonic>-- } r4 \breathe |
  
  \bar "||"
  % 313
  r4 r8.^pizz\p bes'16 c,,4~^arco
  
  %%\break
  % 314 page 5 staff 10
  c2.
  
  % 315
  \times 4/5 {
    \repeat tremolo 4 {e''32[}
    \repeat tremolo 4 {dis,32}
    \repeat tremolo 4 {cis'32}
    \repeat tremolo 4 {g,32}
    \repeat tremolo 4 {bes32]}
  }
  \times 4/5 { 
    \repeat tremolo 4 {a'32[}
    \repeat tremolo 4 {f,32}
    \repeat tremolo 2 {fis'32}
    
    % 316
    \repeat tremolo 2 {fis32}
    \repeat tremolo 4 {gis,32}
    \repeat tremolo 4 {d'32]}
  }
  r2

  % 317
  R2.*1  |
  
  % 318
  cis,16\f d' r8 r8 g,16 as' r4 |
  
  % 319
  r2 f8-^ \piuf r8 |
  
  % 320
  R2. *1   |
  
  %%\break
  % 321 new line  page 5 staff 11
  \clef tenor  g'8-^\f r8 r4 \clef bass r8^pizz b,,8\p\breathe |
  %% \breathe missing in reduction.
  
  % 322 circle 22
  \mark #22 
  
  r4. \repeat tremolo 12{gis'32\arcosulpont}   |
  
  % 323
  <g, es' >16\downbow ^"nat." q\upbow  r8 r2 |
  
  % 324
  r8\f c,16\downbow c\upbow r4 <c f\harmonic >4 |
  
  % 325
  R2. *1  |

  % 326
  r4 \times 2/3 { gis''4 -- a'-- fis,-- }  |
  
  % 327
  r4. \clef tenor \repeat tremolo 12 {f'32 \fp\sulpont}  |

  %%\break
  % 328  page 5, 12th (last) staff
  \repeat tremolo 12 {f32 \fp}  \repeat tremolo 12 {f32 \fp}
  % 329
  \repeat tremolo 12 {f32 \fp}  \repeat tremolo 12 {b32 \fp}
  % 330
  c8\f r r4 r8^pizz ais8->
  \clef bass
  % 331
  d,,16\ff\arco g r8 r16 bes a, r r8 <g c\harmonic>8\p |
  
  % 332
  \times 4/5 {r16 dis( cis' e) r  } r4 \times 4/5 { r16 dis,( cis' e) r } |
  %%\break
  
  % page 6 staff 1 rehearsal #23
  %333
  \mark #23
  \times 4/5 { r16\pp dis,( cis' e) r }   \times 4/5 {r16 b( ais' cis) r }  r8 dis,^pizz \f |
  
  %334
  \times 4/5 {r16 b,(\arcosulpont ais' cis) r } r4 \times 4/5 {r16 fis,( a  gis') r }  |
  
  %335
  r16^"pizz"  d'8 \f r16 r2 |
  
  %336
  r4 \times 4/5 { r16 e,\arcosulpont(\pp g f') r } r4 |
  %%\break

  %337 page 6 staff 2
  \times 4/5 { r16 d,( c' es)r } r2  |
  
  %338
  r4\times 4/5 { r16 d,( c' es)r } r4  |
  
  %339 and 340
  R2.*2
  \bar "|."
}}