Peter Seabourne Stes Volume 2 An second anthology o music or iano Studies o Invention Book I I II III IV V Book II VI VII VIII IX X Book III XI XII XIII XIV XV Flying Machines Sixty Beggars Old Man with Water Studies Study o a Woman s Hands The Kite o the Cradle Tank Polishing Ierections in Glass A Moth to the Light Persectives o Disaearance La Scaigliata The Existence o Nothingness The Iossibility o Peretual Motion Lenses or Looking at the Moon Study o a Deluge This is the Way Birds Descend 1 9 1 20 2 7 40 47 1 7 61 67 70 82 The ieces in this collection were written as a cycle; however, erormers are ree to lay individual books, or indeed to select as they chose rom among them. They were insired by a visit to Vinci, birthlace o Leonardo. Though titled ater his designs, studies, aintings and writings, they are not intended as musical evocations or 'translations'; rather as imaginings o the internal joys, rustrations, insirations and dreams that might have accoanied his creative rocesses. This, the second volume in a series, orms art o an ongoing roject that is oen ended. It is dedicated to the young ianist whose laying rekindled my coositional sark, and to whom I will always be deely indebted.
1 Piano 9 1 Surging q.=60-66 Studies o Invention Book I I. Flying Machines molto :6 Peter Seabourne August 2006 - February 2007 molto
2 16 18 20 22 rd Ped. simile [B ]
2 26 27 Ped come rima :2h :2h 29
4 [D] 1 [B] [B] 6 9 4 rd Ped. rd Ped. rd Ped. :6 :6 [D]
48 7 :6 :6 :6 :6 :6 :6 :6 62 rather enigmatic :6 :6 :6 :6 70
6 7 79 [R.H.] [R.H.] 84 [R.H.] [R.H.] 89 92 :6 :6
9 7 99 101 :2h :2h 10
8 107 11 rd Ped. 117 accel. 119
9 II. Sixty Beggars Piano Melancholy q = 48 9 12
10 14 16 18 19 21 rubato will be necessary to allow or the sread chords. These should be started on the beat, delaying the melodic line or the minimum time ossible. [B] intense [A]
11 2 molto [B] 26 7:8 [Db] oco cresc. 28 cresc. oco a oco 1
12 In this system each stave's accidentals are indeendent viz. there are no 'reminders' between staves 4 smudged less than the to stave 8 :6 42 6 ( ) 44
1 III. Old Man with Water Studies Piano Maestoso e = 12 molto legato (non troo) * 9 * Phrasing is not coied between staves where identical, to avoid clutter. It should be in broad swees and not over ussily subdivided into irregular beat grous: the eect intended is o a slightly ierectly moving large object, not o "danciness". A certain amount o rubato will be required to allow or the aster moving inner arts. Thus absolute teo and rhythmic accuracy are to be subordinate to the sense o massiveness and melodic line.
14 12 1 18 22
27 0 [B, C#] cresc. oco a oco cresc. oco a oco iù cresc. iù cresc. It is realised that it will not always be ossible hysically to hold the melody notes in this assage, ingers being required or the aster inner arts. However, this 'iction' is maintained to indicate the line. massive 1 6
16 8 42 The melodic line should be maintained as much as ossible, even though reeated notes are required. 44 46
49 2 7 6 dim....... oco...... a......oco 17 67
18 71 77 82 8 oco molto molto (i ossible)
88 19 91 94 97 non dim.
20 IV. Study o a Woman's Hands Piano Gently, sily q = 66 4 7 The texture in this iece should not be too dry - a certain 'generosity' in the edalling is intended. This is let to the layer, but maintaining melodic lines should be aramount.
9 21 12 14 16
22 18 oco oco 21 24 non troo as much with weight as with loudness non troo rd Ped. [D#] oco iù oco iù rd Ped.
26 28 2 0 2 treble notes not areggiated
24 molto molto 9
2 V. The Kite o the Cradle With great energy and assion q=88 oco 4 6 9 6 oco
26 12 () d - i - m - i - n - u - e - n - d - o 14 16 18 20 (subito meno)
22 2 28 1 27 4
28 7 40 4 subito 46 49
1 8 7:6 subito subito 29 61
0 64 67 69 72 [light edal] [accidentals simile] 7
[Bb] 77 79 82 1 84 (m) dim. ma non troo 88
2 97 104 [ ] delicate - leeting
Book II VI. Tank Piano Dry, truculent - somewhat 'snatched' q = 92 exaggerated crescendos 8 10 rd Ped.
4 1 17 una corda oco rd Ped. sere 21 tre corde 2 subdued but with weight sere molto oco sere 2, oco oco
28 1 4 6 8 Tumultous (with as little rubato as ossible) cresc. oco a oco molto,
6 40 42 4 [loco] 49
7 VII. Polishing Ierections in Glass Piano Mesmeric, luminous, subdued q.=60 cantabile * simile legatissimo ("baignées de edales") 6 11 meno 1 oco iù * The RH art should be like one line with the to note sustained, but dominant; not like two searate voices. LH hrasing is not marked as it will ollow the RH.. Pedaling should be very generous, with a glassy sound quality.
8 19 meno 24 29 both R.H. arts are within the quintulet :6 come rima :6 :6 :6 4 :6 :6 sub. :6 :6 :6 9 :6 :6 oco a oco iù :6
4 :6 oco 9 47 1 oco rd Ped. 7 rd Ped. 6
40 VIII. A Moth to the Light Piano Nervous, anxious e = 200 6 (m) subito 12 molto 17
41 2 0 6 4 48 sub. just enough to let chord emerge quietly rom the tumult sub. simile
42 7 6 69 molto 76 82
87 4 91 97 102 107
44 11 119 124 oco 129 () () molto hrase 'bouncing o' the bass notes 1 :6
144 :6 oco :6 molto 4 11 18 :6 sub. molto 16 169
46 176 iù legato 182 cresc. oco a oco 188 192 196 molto 7:8 non rit. 7:8 staccato, i ossible
47 IX. Persectives o Disaearance Piano 4 Wistul q = 60 A minimum o edaling is marked to avoid ussiness. However, the sound intended is not dry but luminous, so the edal should be used generously. 7 10 oco
48 12 1 17 :6 20 2 (oco subito) rd Ped. rd Ped. This is merely suggested edaling - sustained and 'glossy, but not too over-resonant. The erormer is ree to alter it. The lower art is to be slightly more distant until bar 27 oco
2 oco agitato 49 rd Ped. rd Ped. 27 29 2 rd Ped. oco meno remaining intense molto :6
0 6 40 44 sub. () oco molto molto molto sub. 48 2 ten.
1 X. La Scaigliata Piano 4 Light - delicate - dancing q = 100 A slightly 'ussy', ointed use o dynamics is intended, with strong diminuendi or aired notes, but with hrased dynamics ollowing the dotted hairins above. 7 11 oco
2 14 17 20 22 24 molto molto molto oco molto molto
28 6 9 Agitato accented notes here not over attacked, just standing out rom trilets oco molto 44 oco oco
4 0 oco oco 4 9 oco iù 6 oco layul 66
69 72 molto 77 oco una corda lontano tre corde sub.
6 Book III XI. The Existence o Nothingness Andante - un oco esante q = 66 4 11 7
16 19 22 26 0 rd Ped. bars 22 & 24 A little rubato will be obviously be necessary to accommodate the sread chord. The to two (melody) notes should not be areggiated. (ancora) ochiss. oco oco to two notes not areggiated. Rubato come rima - but as little as ossible. 7
8 7 9 41 sub. soltanto un oco meno 7:8 molto oco meno
9 44 48 9 6 rd Ped.
60 71 selice 78
61 XII. The Iossibility o Peretual Motion Whirring - like a wonky tarantella! e = 168 legatiss. 4 8 12
62 1 18 21 24 26
6 28 0 sub. 6 9
64 42 4 49 () molto molto iù molto 8 oco
6 6 molto 66 70 7 76 sz sz sz sz [E] sz
66 79 non rit...
67 XIII. Lenses or Looking at the Moon Almost still - very slow q = 6 lontano * Piano * both notes una corda 8
68 11 lontano tre corde come rima 16 una corda 20 2
27 tre corde lontano 69 1 4 una corda 7
70 XIV. Study o a Deluge Piano Massive q = 76 (tre corde) 4
7 71 10 1
72 16 19 22 oco meno oco meno oco meno
Meno mosso q = 66 2 29 2 oco oco 7
74 6 [R.H.] oco 9
42 7 44 46
76 always growing in tension 48 0 oco accel. 2 Teo rino q = 76
8 61 accel. () () with surging energy molto 77
78 6 molto 7:8 molto 69 molto Molto iù mosso q = 12 molto molto 7 l.v. l.v.
7 80 84 89 9 like a cadenza - with a certain reedom sere 79
80 97 Meno Mosso, Maestoso e.= 12 101 Più mosso (Teo II) e. = 176 sub. molto cresc. 104 Meno Mosso e.= 12 107 D and Db reminders are not used in these bars to avoid clutter
110 81 11 117
82 XV. This the Way Birds Descend Piano 10 14 Lontano q = 48 * (non tr.) (l.v.) L.H. iacere oignantly *bar 4 etc.:to avoid ussiness the trilled note is tied, it resuming as soon as the melody note has been struck and 'rung' a little, in the manner o Debussy etc. ** bar 14: the melody ties are 'aural'. However, there should be a clear sense o line. Phrase marks/slurs are not indicated or the raid broken chord inner arts to avoid ointless clutter - these ollow the melody hrasing. The eect is intended is o a gentle hovering develoing rom the trills and not something over articulated.
1 16 8 17 18 19 oco serioso
84 20 22 2 26 27
28 iù aassionato 8 29 0 [C#] 1 2 ten. molto
86 4 (trem.) 6 7
1 12 lontano 9 rit. 87