Carl Bergstrøm-Nielsen: Berceuse with Tango & Fan Shapes (2017)

Carl Bergstrøm-Nielsen Berceuse with Tango & Fan Shapes 2 Pieces for Piano (may be played independently of each other) Dur. c. 5′30″

In honour of Gunnar Berg Comissioned by Working Group Gunnar Berg

SCORE

(2017)

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Composed with support from the Danish Arts Foundation and the Danish Composers’ Society’s Production Pool With support from Koda’s Cultural Funds.

Projektet er støttet af Kodas kulturelle midler

Edition·S publications are supported by the Danish Arts Foundation / Edition·S udgivelser er støttet af Statens Kunstfond

Accidentals are valid for the whole measure, following the practise of Beates Klaverbog.

Carl Bergstrøm Nielsen Berceuse with Tango & Fan Shapes

Square boxes indicate vertically the total pitch range of the piano. In this piece, they may contain measu for which a scale unit of 1 sec is given. Then the player is in charge of feeling durations and rhythms rath as written. Either the middle C (”keyhole”) or G may be used to indicate an approximate middle of the p the staff notation.

(2017)

2 Pieces for Piano (may be played independently of each other) Dur. c. 5′30″ BERCEUSE WITH TANGO – EXPLANATION OF SYMBOLS This piece quotes from two pieces of Beates Klaverbog I by Gunnar Berg (Beate’s Piano Book I). A collection of easy piano pieces written for his daughter Beate at her first birthday in 1938. It was, together with Fan Shapes, commissioned for a concert in Copenhagen on the 20 November 2017 on the occasion of Beate Berg’s 80th birthday, at which the Klaverbog was also premiered.

While in the square boxes contents are to be played as written, boxes with dotted and waving areboxes to be contents played with You do notdotted need to play While in thelines square areimprovisational to be played as freedom. written, boxes with and waving lines are t each detail exactly, but interpret the overall shapes.

Upper and lower limits vaguely need to play each detail exactly, but interpret the overall shapes. Upper and lower limits suggest vaguely suggest the limits of the piano.

BERCEUSE WITH TANGO - EXPLANATION OF SYMBOLS

The Klaverbog pieces follow traditional styles in straightforward ways – however, with somequotes little twists atonality.

My Klaverbog intention in has beenBook to I). A collection of easy piano pieces written for his daughter Beate This piece from towards two pieces of "Beates I" Berceuse

by GunnarWith BergTango (Beate's Piano at hertake firstthis birthday in 1938.

It was, together with Fan Shapes, commissioned for a concert in Copenhagen on the 20.November 2017 on the occasion of Beate twisting a bit further.

Berg's 80th birthday, at which the Klaverbog was also premiered.

Accidentals are follow valid for the wholestyles measure, following the ways practise of Beates Klaverbog.

The Klaverbog pieces traditional in straightforward – however, with some little twists towards atonality. My intention in Berceuse With Tango has been to take this twisting a bit further.

Square boxes indicate vertically the total pitch range of the piano. In this piece, they

Accidentals are valid for the whole measure, following practise of Beates Klaverbog. may contain measured notation (for instance, 4/4)the or proportional notation for which a

scale unit of 1 secvertically is given. the Then thepitch playerrange is in charge of feeling durations and may rhythms Square boxes indicate total of the piano.

In this piece, they contain measured notation (for instance, 4/4) or proportional notation rather than counting.

Other than this, try to play contents as written.

Either the for which a scale unit of 1 sec is given. Then the player is in charge of feeling durationsmiddle and rhythms rather than counting. Other than this, try to play contents as written.

Either the C (”keyhole”) or G may be used to indicate anthe approximate middle of the pitch range, depending on convenience in the relation to C (‘keyhole’) or Gmiddle may be used to indicate an approximate middle of pitch range, the staff notation. depending on convenience in the relation to the staff notation.

While in the square boxes contents are to be played as written, boxes with dotted and waving lines are to be played with improvisational freedom. You do not need to play each detail exactly, but interpret the overall shapes. Upper and lower limits suggest vaguely limits of the piano.

FAN SHAPES - EXPLANATION OF SYMBOLS AND REMARKS

FAN SHAPES - EXPLANATION OF SYMBOLS AND REMARKS This piece quotes and transforms details of a drawing created by Gunnar Berg. It features several kinds of notation. The music should, however, develop organically. Page 3 should be printed in large format (A3) for details to stand out clearly.

Staccato - always completely secco. Fermatas page 1 are to be felt, not Dotted and waving line of a box: This piece quotes and transforms details a drawing created Gunnar Berg. features several kinds notation.

The music should, however, develop counted, observing the relation sounds and pauses.

This piece quotes and transforms details ofof abetween drawing created byby Gunnar Berg.

It It features several kinds ofof notation.

The music should, however, develop FAN Page SHAPES – REMARKS AND EXPLANATION OFfor SYMBOLS organically.

3 should be printed in large format (A3) details to stand out clearly. play contents with improvisational freedom.

You do not need to play each detail organically. Page 3 should be printed in large format (A3) for details to stand out clearly. exactly, but interpret the overall shapes. Upper and lower limits suggest vaguely This piece and transforms details of aFermatas drawing by Gunnar It features Dotted andpiano. wavingline line of of a a box: Staccato - always completely secco. page 1 areBerg. to be felt, not Dotted waving box: This andquotes similar figures are clusters with inner movements/glissando limits of and the counted, observing the between sounds andwith pauses. clusters/arpeggios. can beshould, played as one figure more and more several kinds of notation.They The relation music however, develop organically.

-Play playcontents contentswith with improvisational freedom.

Younot doneed not to need playdetail each detail tones - : improvisational freedom.

You do playtoeach Staccato - always completely secco.

Fermatas page 1 are to be felt, not Dotted and waving line of a box: the overall shapes. Upper and lower limits suggest vaguely exactly, but interpret Staccato -Staccato always completely secco.

Fermatas page 1 are to be felt, not Dotted and waving line of a box: – always completely secco.sounds Fermatas on page 1 are to be felt, not counted, exactly, but interpret the overall shapes. Upper and lower limits suggest vaguely limits counted, observing the relation between and pauses.

This and similar figures are clusters with inner movements/glissando limits of the piano. counted, observing the relation between sounds and pauses. observing the relation between sounds and pauses. of the piano.

- play contents with improvisational freedom.

You not need play each detail clusters/arpeggios. They can be played as one figure with more and -more play contents with improvisational freedom.

You dodo not need toto play each detail exactly, but interpret the overall shapes.

Upper and lower limits suggest vaguely tones -: The indication p.3 ”espressioni dynamici sempre ad libitum 2, first small dots and staccato pianissmo/piano, exactly, butPage interpret thesection: overall play shapes.

Upper lowerand limits suggest vaguelylarger dots with This and similar figures are clusters with inner movements/glissando limits the piano.

This similar figures are clusters with inner movements/glissando Page 2,dynamics first section: play small dots staccato and pianissmo/piano, larger dots with maand non troppo simili, inwith particolare verticalmente” emphasisesclusters/ the limits stronger and various degrees of tenuto.

This and similar figures are clusters inner movements/glissando ofof the piano. clusters/arpeggios.

They can played as one figure with more and more arpeggios.

They can be played asasone figure with and and more tones: stronger dynamics and various degrees of tenuto. importance of polyphonic feeling applied tomore dynamic degrees of the inner clusters/arpeggios.

They can bebe played one figure with more more tones- :- : movements of the clusters and similar figures. tones The indication p.3 ”espressioni dynamici sempre ad libitum Page 2, first section: play small dots staccato and pianissmo/piano, larger dots with ma non troppo simili, in particolare verticalmente” emphasises the stronger dynamics and various degrees of tenuto. polyphonic feeling applied degrees limits of theof inner Aimportance box with a gofclef: upper and lower limits to of dynamic the box indicate the The indication p. 3 “espressioni dynamici sempre ad libitum The indication p.3 ”espressioni dynamici sempre libitum Page first section: play small dots staccato and pianissmo/piano, larger dots with movements the dynamici clusters similar figures. piano with theofmiddle g as anand approximate reference point. When a scale The indication p.3 ”espressioni sempre adad libitum Page 2,2, first section: play small dots staccato and pianissmo/piano, larger dots with ma non troppo simili, in particolare verticalmente” emphasises the importance of ma non troppo simili, in particolare verticalmente” emphasises the stronger dynamics and various degrees of tenuto. unitsimili, for 1 second is given,verticalmente” the player is inemphasises charge of feeling durations stronger and ma non troppo in particolare the dynamics and various degrees of tenuto. importance polyphonic feeling to dynamic degrees the inner polyphonic feeling applied toapplied dynamic degrees of the inner movements of the rhythms ratherfeeling than counting (proportional notation).

Else, try to playclusters importance ofof polyphonic applied to dynamic degrees ofof the inner movements of the clusters and similar figures. and figures. box with a gand clef: upper and lower limits of the box indicate limits of the contents as written. movements ofAsimilar the clusters similar figures. piano with the middle g as an approximate reference point. When a scale unit fora1Gsecond is given, the player is the in charge of feeling and A box with clef: upper and lower limits of box indicate limits durations of the piano A box with arhythms g clef: upper and lower limits of the box indicate limits of theto play rather than counting (proportional notation).

Else, try A box with a g clef: upper and lower limits of the box indicate limits of the withthe themiddle middle gg as an approximate reference point.

When a scale unit for 1 second piano with as approximate reference point.

When a scale contents written. piano with the middle as g as anan approximate reference point.

When a scale is1 given, theisplayer isthe in charge ofisfeeling durations and rhythms rather than counting unit for second given, player in charge of feeling durations and unit for 1 second is given, the player is in charge of feeling durations and (proportional notation).

Otherwise, try to play contents as written. rhythms rather than counting (proportional notation).

Else, try to play rhythms rather than counting (proportional notation). Else, try to play contents written.

Page 3, first Lentissimo section: occasional inner movements with rapid sequence contents asas written.

Page 3, first Lentissimo section: occasional movements of some notes and some short durations mayinner very well occur, aswith long rapid as thesequence overall of some notes and some short durations may very well occur, as long as the overall Lentissimo character absolutely prevails.

Lentissimo character absolutely prevails.

Page 3, first Lentissimo section: occasional inner movements with rapid sequence of some notes and some short durations may very well occur, as long as the overall Lentissimo character absolutely prevails.

Page first Lentissimo section: occasional inner movements with rapid sequence Page 3,3, first Lentissimo section: occasional inner movements with rapid sequence ofof some notes and some short durations may very well occur, as long as the overall some notes and some short durations may very well occur, as long as the overall Lentissimo character absolutely prevails.

Lentissimo character absolutely prevails.

1

BERCEUSE WITH TANGO Berceuse with Tango ~85

~10" (poco meno mosso) (a tempo)

attacca

Carl Bergstrøm-Nielsen: Berceuse with Tango & Fan Shapes - 5

2 feroce

5-10" sempre feroce

senza ped.

10-15" come jazz e con stravaganza

attacca

Carl Bergstrøm-Nielsen: Berceuse with Tango & Fan Shapes - 6

3 6-10"

20-30"

FINE

Carl Bergstrøm-Nielsen: Berceuse with Tango & Fan Shapes - 7

1

FAN SHAPES

Fan Shapes

Fan Shapes

Carl Bergstrøm-Nielsen: Berceuse with Tango & Fan Shapes - 8

2

min.20"

secco, senza pedale

ped. ad lib. ma non troppo

Carl Bergstrøm-Nielsen: Berceuse with Tango & Fan Shapes - 9

min. 55�

min. 1'10� lunga

Lentissimo

(Liberamente)

espressioni dynamici sempre ad libitum ma non troppo simili, in particolare verticalmente

ped. ad lib. ma non troppo Carl Bergstrøm-Nielsen: Berceuse with Tango & Fan Shapes - 10

Carl Bergstrøm-Nielsen: Berceuse with Tango & Fan Shapes - 11