MichaelTilsonThomas
UPONFURTHER REFLECTION
for PianoSolo
MichaelTilsonThomas
UPONFURTHER REFLECTION
BygoneBeguine(6'15") SunsetSoliloquy(13') YouComeHereOften?(4'30")
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BYGONEBEGUINE
Intheearly1970s,Iwasfallinginloveforthefirsttime,experiencingthoseradiant,achy,free-fall,outofcontrolfeelings.
Theemotionalstreamsresolvedthemselvesintomusicforacross-culturalensembleIwashearinginmyheadIcouldplayit forsometimebeforeIcouldimaginehowitmightbewrittendownThispiecewasoriginallyasimplelittlesong,butonethat reflectedallofmyinescapableinfluences,includingragas,gamelan,bossa-nova,thepianomusicofSchumannandDebussy, aswellasthemusicallanguageofMonteverdiandBergandPeggyLee'sinimitablerenditionofthesongAlleyCat.Allof theseflowedtogetherinawaythatseemedcompletelynatural tomeanywayTheensembleundermyfingersconsistsofa free-floatingtreblemelody,arhythmsectionriff,abaritonehornortromboneline,andabasslineIsometimesplayedthis pieceinrestaurants,spellingsomeofmypianistfriendsIalsoplayeditonsomefirstdates,mostimportantlytheonewiththe manwhobecamemyhusband.
OnememorableSundayafternoonIdroveuptoDanbury,ConnecticuttoplayitforLauraNyro,whosemusicandspirithave beenanenduringpartofmylifeItwasalaid-backsunnydayLauraandherfriendswereloungingpoolsidelisteningtoold R&B.Sheaffectionatelyencouragedmetowritemore.Thepieceisdedicatedtoher.
Fromhere,thefourdistinctlinesofan"ensemble"shouldalwaysbedistinctundertheperformer'sfingersThetopoftherighthandis themelody-singingandsoaringThebottomoftherighthandistherhythmsection-propellingandrustlingThetopofthelefthandis thehornortromboneline-baskingandlanguorousThebottomofthelefthandisthebassline-centeringall
Thefeelofthepieceshouldbe"tight"buteffortless,withallnuancesperformedintempo
Tempo1º,ashademorerelaxed q=104
SeePerformanceNote: themelodyalways floatingandclear.
SUNSETSOLILOQUY
WhitsettAvenue1963
InthelateafternoonthesunpouredthroughtheVenetianblindsinbandsofshimmeringlightItwasatimeformetobealone withthepianoinmyparent'sdarkenedlivingroom.Asmyfatherandhisfatherbeforehim,Iwasseeking,through improvisation,somekindofunderstandingofwhoIwas.Iwasalreadyawareofthemany"me's"whosespiritsseemedto inhabitoneoranotherofmyhandsMylefthandwasthehomeofareflectivespiritthatarchedinlyricalphraseslikeacello soloMyrighthandwasruledbyascamperingspiritthatzanilydartedaboutinfitsandstartslikefracturedvillagemusicfull ofcapricesandclashes.Nowandagain,therewasamuchgentlermusic-aduetplayedbybothhandsonetentativefingerata time.Eventuallymyhandsfoundawaytomakeallofthismusicsimultaneousandindependent,graduallyunitinginashared cryafterwhichtheyquietlyandsomewhatnonchalantlyfadeaway
ThepieceisarecordofthatprocessIt’sbeenstartlingtoseeallofitwrittendownThebeginning,theduet,andtheending aremuchastheywerewhenthefirstpiececameintofocussome50yearsago.Theright-handmusicwastoughertoresolve.It seemedithadotherurges,andmeandereditswaytowardthemorethoughtfulandlyricalworldofitspartner
SUNSETSOLILOQUY
Adagio,reflectiveandatease
thetwovoicesgentlyansweringoneanother
pocorall.
Largograndiosso
Pedalfreely,asbefore
Pocolentoq=62
Pocoprestoq=66
Pocolentoq=60
Pocoprestoq=66
Adagioe=98, thethreestreamsclear
cantandoespressivo pwithgentlelilt
alwayssoaringfreely
YOUCOMEHEREOFTEN?
HelloStranger,1977
Inthemid1970sIwaslivinginNewYork.Iwasworkingonatheaterpiececontrastingthelivesofuptownand downtownpeopleandtheunpredictablewaysinwhichtheirlivesmightsometimesintersect.Onesceneinthisshow tookplacearoundadowntownloft’sprivateclubonSaturdaynight.Bitsofmusiccouldbeheardfromthestreetas youapproached,and,asyoupassedthefrontdoorandsnakedyourwayupstairs,itgotlouderandlouderuntilyou wereenvelopedinthejoyousandthrobbingthrong.
Inthisscene,twopeoplewithsomehistoryunexpectedlyrunintooneanother.Totheirgreatsurprise,theyhave somethinglefttosaytooneanother.Duringthegapsinthemusictheytrytogetinafewcasual,defiant,andsome tenderwordsbeforetheexultantcacophonyoverwhelmsitall.
Thevirtuosopianopiecemadefromthemusicfromtheshowiscalled“YouComeHereOften?”.Itisinspiredby anddedicatedtoagreatartistandadearfriend,YujaWang.
pocorall.
Easybounceh=90