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FÜR KLAVIER / FOR PIANO

NICOLA CAMPOGRANDE

nach „R (Ein Portrait für Klavier und Orchester)“ after “R (A Portrait for Piano and Orchestra)“


NICOLA CAMPOGRANDE

NUDO für Klavier for Piano

nach R (Ein Portrait für Klavier und Orchester) after R (A Portrait for Piano and Orchestra)

Edition Breitkopf 8990 Printed in Germany


Vorwort Im Jahre 2012 erhielt ich einen ziemlich ungewöhnlichen Auftrag von einem Unbekannten, der mich bat, ein musikalisches Portrait seiner Verlobten zu komponieren. Der Mann wusste genau, was er wollte: ein Konzert für Klavier und Orchester. Nach einigen Überlegungen kam ich zu dem Schluss, dass ich mit Musik malen könne. Natürlich würde es unmöglich sein, die Gesichtsform der Frau oder ihre Haarfarbe wiederzuerkennen. Aber die Partitur könnte die Vorstellung erwecken, wie sie Zeit und Raum einnimmt; und die verschiedenen Sätze der Komposition wären wie die Seitenflächen eines rotierenden Prismas. Ich nahm den Auftrag also an und der Unbekannte übersandte mir ein paar Fotos seiner Verlobten, erzählte mir einiges über sie und stellte sie mir schließlich persönlich vor. So wurde R (Ein Portrait für Klavier und Orchester) geboren und erstmals von Lilya Zilberstein mit dem Orchestra Verdi in Mailand aufgeführt. Es folgten weitere Aufführungen und eine TV-Dokumentation, woraufhin mehrere Pianisten mich baten, eine Fassung für Klavier solo zu schreiben. Dadurch entstand Nudo, ein R sehr ähnliches Stück, wäre da nicht die Tatsache, dass – wie der Titel schon sagt – der Pianist nackt ist, also ohne orchestrale Bekleidung. Der erste Satz, Home (Zuhause), versucht das Licht darzustellen, das strahlende Licht, das jeden Tag in das Heim des Paares strömt, wobei die Sonne durch eine riesige Glasmauer am Ende des Gartens in das Wohnzimmer scheint. Die Musik soll die Wärme, die Freude und die Lebensfreude vermitteln, die jeden begrüßt, der hereinkommt. Der zweite Satz, Occhi (Augen), wurde durch verschiedene Fotografien des Gesichts der Frau inspiriert, die der Auftrag-

geber mir gab: Alle zeigen ihre wunderschönen Augen, wissbegierig und zugleich eine innere Ruhe ausstrahlend. Mir kam Musik in den Sinn, bei der der Choral am Beginn beschreibt, wie sich die Augenlider langsam öffnen, dann weit geöffnet bleiben und dabei all die Dinge beobachten, die in der Welt geschehen: Letzteres beschreibt der mit Hilfe des Sostenuto-Pedals lang gehaltene Akkord, der für einige Schläge stabil bleibt, aber dann widerhallt, wenn ein Ereignis ihn zum Vibrieren bringt. Wenn am Ende des Satzes der Choral zurückkehrt, hat dieser sich in meiner Wahrnehmung durch das, was er „gesehen“ hat, weiterentwickelt. Der dritte Satz, Conquiste (Eroberung), fand seine Inspiration in der unermüdlichen Aktivität der Frau, sowohl beruflich als auch politisch und in der Familie; und soll ihre fröhliche, ansteckende Energie wiedergeben. Im vierten Satz, Notte (Nacht), vereinen sich die sehr vertraulichen Erzählungen des Auftraggebers über die gemeinsamen Nächte des Paares. In einer Mikro-Erzählung, die geheim bleibt, wechseln sich Zärtlichkeit, Gesten der Zuneigung und spielerisches Gerangel ab. Das Finale wurde nicht aus einer bildlichen, sondern aus einer musikalischen Idee heraus geboren: Nachdem ich die anderen vier Sätze geschrieben hatte, hatte ich das Bedürfnis, das Werk in dieser Art zu beschließen. Es sollte schnell und mit viel Energie, aber auch Gewandtheit gespielt werden, so wie eine Landschaft an einem Zugfenster vorbeigleitet. Rom, Frühjahr 2018

Nicola Campogrande

Preface In 2012 I received a rather singular commission when a total stranger asked me to compose a musical portrait of his fiancée. The man knew exactly what he wanted: a concerto for piano and orchestra. After some reflection, I realized that I would be able to paint with music. It would never be possible, of course, to recognize the shape of the woman’s face or the colour of her hair, but the score could evoke the way in which she occupied space and time, and the different movements of the music would be like the faces on a rotating prism. I thus accepted the commission and the stranger sent me a few photos of his fiancée, spoke to me about her and, finally, introduced me to her. This is how R (A Portrait for Piano and Orchestra) was born, to be performed for the first time by Lilya Zilberstein with the Orchestra Verdi in Milan. Subsequently, following other performances and a TV documentary, a number of different pianists asked me to write a version for solo piano. Hence Nudo emerged, a piece that would be very similar to R, were it not for the fact that, as the title suggests, the pianist is naked, without orchestral clothing. The first movement, Home, evokes the light, the very bright light that enters the couple’s home every day, the sunshine invading the living room through a gigantic glass wall at the bottom of the garden. The music seeks to convey the warmth, joy and zest for life that welcome anyone who comes in.

The second movement, Occhi (Eyes), was inspired by various photographs of the woman’s face that the client gave me: they all show her very beautiful eyes, curious and calm at the same time. I imagined music in which the initial choral would evoke eyelids that open gently, then stay wide open, observing the events that are taking place in the world: hence the long-held chord sustained by the sostenuto pedal which stays steady for a number of beats, then resounds when an event causes it to vibrate. When the chorale returns at the end of the movement, it has been enhanced in my imagination by what it has “seen.” The third movement, Conquiste (Conquests), is inspired by the tireless activity of the woman, active professionally, in politics and in the family, and tries to express her cheerful, contagious energy. In the fourth movement, Notte (Night), I collected the highly confidential stories that the client told me about the couple’s nights together. Tenderness, gestures of affection and playful romps thus alternate in a micro-narrative that stays secret. The Finale was born of a musical, not a pictorial idea: after writing the other four movements, I felt the need to close the work like this. It should be played quickly with a lot of energy but also deftness, like letting a landscape slide by a train window. Rome, Spring 2018

Orchestermaterial inkl. originaler Klavierstimme zu R (Ein Portrait für Klavier und Orchester) mietweise. Orchestral material incl. original piano part for R (A Portrait for Piano and Orchestra) on hire.

Nicola Campogrande


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  84    

          

79

  

{

∏∏∏∏∏∏∏∏∏∏∏

{

   

            

89

{

     

p

    ™™™   

Leseprobe

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

{

  ™™    ™™™ 

 ™™ ™

   

 

  



  

 

     

 

∏∏∏∏∏∏∏∏

 ™™ ™

 ™™™  ™™

   

      ™™   ™™ ™ 

   

 

       

                 

 ™™™™™ ™

 

 

   ™™    ™     ™™   

 

    

Breitkopf EB 8990

      

    

Sample page 

∏∏∏∏∏∏∏∏

68

9

                 



      


10

  ™™ 94   ™™    ™

{

98

{

{

          a tempo

 

      

                                     

101

                  

  

Leseprobe 

            ff

           

                               mf

                 ™™        

104

{

Sost. Ped.



                                                7            3  8 4    

Sample page 

              107              3  4    3  4

{

7 8     

Breitkopf EB 8990

3 4

               5      3 4     8

5 8

3 4


11

     3   3      7        4          8 4             

110

{

3 4

113

3 4

{

               

7 8

               

Leseprobe 

3 4

     3   5     4  8                      3  58  4

115

{

f

    3

  

3 4

5     8   5 8   

       

   

3

3

                                                            mf ™         

Sample page

117

{

3

3

3

Sost. Ped.

                    120                                     

{

 Breitkopf EB 8990


12 123

{

 

    p

 

3

7 8

{

 87



   

3

3

3

3 4

7 8

            7 3       4       8       3

127

7 8

7 8

3

3

125

{

                          87    

3

f

Leseprobe 3

 87               3 f

3

   

 43

 3  4 3

3

3

   

 

 

3

 

3

3

 

    

3

3

2. Eyes | Augen | Occhi | Yeux Largo q ≈ 54

4  4   

{

p

     ™        ™™             

Sample page       ™™

mf

        ™™  44       

      ™™   

     

  ™™                ™

         

  

       

5

{

 ™

mf

    ™™™ 

p

Breitkopf EB 8990

p

  ™™™   ™™     



            mf

            


13

              

9

{

p

  

12

 

{





    

    

  

   

 



                           

mf

Sost. Ped.

                               

Leseprobe 

                      

13

{

p

{

  

14II

{

 

       mf

14

f



 

 



 

 

    

 

 

                                

  

Sample page

 

 



 

f

                                     mf

Breitkopf EB 8990


14 15

      

{



   



   



             

f

 

15II

{

                                

Leseprobe

 

16

 

{

   



        

p

mf

 

17

{



 

17II

 

{

   

       

p



   

Sample page

                            

    

    

 

  Breitkopf EB 8990

    

      


15 18

{

                     

ff

   

            

   

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18II

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                                              

19

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                                

19II

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20

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  Breitkopf EB 8990


16

                                                           

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      

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17

    

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18

3. Conquests | Eroberungen | Conquiste | Conquêtes

                             7 7 4           4 8 8 mf      7                        4            7 4  8  8  Vivace q ≈ 132

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                     87

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7            4             8       4              7 4  8            4      

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13

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                         

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       

              

                  

4  4        p  7     4   8         4    Breitkopf EB 8990

                      


19

                                      7      44          8                 mf                87         44                          

16

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 5         8        5  8            

22

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                    

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 5            8              5  8              

25

     4          4           f 4         4               

          

      7       8               44      87           44                Breitkopf EB 8990


20

                

                       4         4   

30

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             87  

                     

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33

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Leseprobe

      43   

   43 

                         3         4           3 4 4 4 4  4 f ff                                 4    3  43           44  4 4 

36

{

39

4  4         44    

{

Sample page

       

 

  

      7   8

42

{

mf

7 8  

      

2     4            2 ™         4     ™                             38       44          

    

           

  

 3    8    

 

Breitkopf EB 8990

f

 87  

 

  

4    4                  

7 8


21

      

45

{

   

 

          

 

 4 4       44    

                        

{

51

4  4          44     

{

             

 7      8   mf        87                

48

 

                        

  7        8              7       8   

Leseprobe

          

                 

   

       

 4    4        4    4 

   

          

  44   44

   87                       7        8      

4 4 4 4

      4        7 4         4          8  4                                     44        87            44              57                                    87                                                                        87   60                     4 7 4  8            4                         8    f             4  87         44                 8             54

{

{ {

Sample page

Breitkopf EB 8990


22

 4        8         4  8           66       

    4  4  p 4 4                                     

       

63

{ {

4  4       

72

 



   

  

4         4      

 

                 

{

f

                  7        8          44         87         44                     87           44                            f                               87        44                              

Leseprobe

4           4    

69

{

  

   

     

  

 7           8             87   

Sample page

                  44

                                    

                          

       

75

{

78

{

          

    

    

  

ff

  

           

                                 Breitkopf EB 8990

                     

             

4 4 4 4


23

4. Night | Nacht | Notte | Nuit Adagio q ≈ 40

4 4

{

       mp

 44 

      ™        5

3

3

3 4

5

Sost. Ped.

       4            4   5 4              4

4

{

5

              3

Sost. Ped.

  

5

      mp

3

∏∏∏∏

    

mp

∏∏∏∏

3

ppp

 ™      

3

5

Leseprobe

7

{

3 ™ 4       ™ 

™™  43              

3

pp Sost. Ped.

5

3 4

        9               3 4  4  4      

{

6

{

  ™     ™          6

3  4 

11

Sample page mf

4 4

Sost. Ped.

  

7                          5   6

 Breitkopf EB 8990


24 12

 

{





                         

12II

 

{

Leseprobe

                                

13

 

{

f

  

 

13II

 

{

                           

Sample page

                 

14

{

  

   ™    

                

* like far bells

™ 

* wie ferne Glocken Breitkopf EB 8990

pp

P

p

 

   ™  

ad lib.

 3


25 17

{

™

 ™

20

{

{

™

™      ™      ™

 

  ™ 



 

        

 ™

Leseprobe

™



  

  

    ™

     ™

™

liberamente

                  

    ™™

8

 

ppp

  

p

 

Sample page

{

            

  

   



 5

 

3

3

a tempo

 

  

3 3

                        

25

  

7

24II

{

 ™™

3

3

5

 

 ™  ™         ™     

 ™

 ™

3

3

3



™  

23

     

 ™™™™  

   

3

5

         5

Breitkopf EB 8990


26

                                             

26

{

5

     

6

5

{

™

                        



8

27

Leseprobe

™

 ™

                       5 5 5    28   5

II

{

                        5

Sample page

                                                   

29

{

8

                                           

29II

{

  Breitkopf EB 8990


27

                                 p

30

{

  ff 

Sost. Ped.

30II

                                   

{

31

  

{

 

   

Leseprobe

                                

31II

                                      

{

Sample page

                                          pp                  

32

{

      

32II

{

  

Breitkopf EB 8990

  l.v.

 


28

5. Finale

                     9 8  Vivace q. ≈ 166

                   ff 9              *       8                    15  

{

                                                                         

4

{ 7

Leseprobe

 

{

4

                                                                        4                                              

13

     

{

   

                                          4

             10    

{

  

Sample page

                4    ™          

          

                              

 

 

       

  

* Für diese drei Noten können auch abweichende Tonhöhen gewählt werden, sie müssen aber so schwer wie möglich gespielt werden (imitiert Große Trommel) | For these three notes, different pitches may be used, but they must be as grave as possible (bass drum effect). Breitkopf EB 8990


29

                                                      f   ff

16

{

                                                                                                          

19

{

Leseprobe

                                                           

4 4                                                                4 4 4 4

22

{

                     

Sample page

                                 

25

{

                                     

                                                                   

28

{

Breitkopf EB 8990


30

                                                          4

31

{

                

34

{

                                 

Leseprobe

              

 37                              f             

{

40

{

    

4

              

43

      

    

       

                 

                    

Sample page  

      

4              

{

                       Breitkopf EB 8990

      

                                      


31

                                            

46

{

ff

4

4

4

4                                                        4

4

                                             

49

{

Leseprobe 4

4

4                                                                          4

                                                                    

52

{

4

4

4

4

4

4 4 4 4                                                         4    

                                                                  

55

{

4

Sample page 4

4

4

4

4 4                                                              4    4 4

8

           ™                                          

58

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4

4

4

4

4

mf

  

                                                             4 4 4

4

4

Breitkopf EB 8990


32

61

{

64

{

66

{

 

 

                                     

                                 



      



    



              

Leseprobe 

4

 

   

              4

                                          

                                               

      

   

71

{

    

Sample page

          

69

{

   

   

   



ff

 

      

     

  



                                                          

 Breitkopf EB 8990


33

                    

74

{

               

                            

76

{

     

  

                

   

                   f

Leseprobe

                                                 

79

{

                                                   

82

{

{

Sample page

             

85

ff

                                                   

      

                                                4

88

{

4                                                   Breitkopf EB 8990


34

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ENTKLEIDET Im Jahre 2012 wurde Nicola Campogrande von einem Unbekannten gebeten, ein musikalisches Portrait von dessen Verlobter zu komponieren, und zwar als Konzert für Klavier und Orchester. Campogrande beschloss, den Versuch zu unternehmen, mit seiner Musik zu malen und die Vorstellung zu erwecken, wie sie Zeit und Raum einnimmt. In der Folge übersandte der Unbekannte dem Komponisten Fotos seiner Verlobten, erzählte ihm einiges über sie und stellte sie ihm schließlich persönlich vor. Am Ende entstand R (Ein Portrait für Klavier und Orchester), das Campogrande aufgrund des Erfolges seines Werkes nun für Klavier solo bearbeitete und es dafür seiner orchestralen Begleitung entkleidete. UNCLOTHED In 2012 Nicola Campogrande was asked by a total stranger to compose a musical portrait of his fiancée, namely as a concerto for piano and orchestra. Campogrande decided to attempt to paint with music and to evoke the way in which she occupied space and time. Subsequently, the stranger sent him photos of his fiancée, spoke to him about her and, finally, introduced him to her. In the end R (A Portrait for Piano and Orchestra) emerged, which, due to its success, Campogrande arranged now for solo piano and therefore unclothed it of its orchestral accompaniment.

9 790004 187197

ISMN 979-0-004-18719-7

9 790004 187197

A 19

EB 8990

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EB 8990 – Campogrande, Nudo  

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