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The Field of Reeds Idyll f0r Violin & Piano

David Lewiston Sharpe


Note The field of reeds is a motif from ancient Egyptian theology, and constituted their vision of ‘paradise’. Ostensibly a symbolic gesture which expressed the idea that life continued after the present one, with work in the fields carrying on as much as any likelihood of leisure and rest, the reeds are depicted as more extensive and substantial than those we know in ‘reality’. It was a scene of waterways and an idyllic rural life not entirely unrelated to the ways in which the West Country in England carries notions of ‘paradise’: a town-dwellers idyll – and that it was to be found in the ‘West’ connects with the Egyptian location of the Duat, the heavenly land between the horizon and the setting sun.

Scoring Violin Piano

Duration: 6 mins approx.


for Amelie Roper

The Field of Reeds Idyll for Violin & Piano David Lewiston Sharpe

Adagietto q = 50

  

                                   poco p pp sempre                         5

  

      

 

pp

              poco p         -

-

-

-

          

 

 

Lentorello (q = 52)

           

8

 

mp

   

poco più f

  

   

      

  

     

     

pp

      

pp



 

poco accel. -

     

    

        

  

        

p

           

  

poco più f

     

cresc.

    

         

Copyright © 2010 by David Lewiston Sharpe

 


2

sostenuto 11

  

 

    



accel.

più dim.

     

dim.

-

-

   

-



           p

 

 

   ppp  mp

  

ten. 

  

            

         

p



                     

       

         

pp dolce e delicatiss.

 

 

 

  

  -

-

pp sfzpp

  

   

          

-

 

Più animato (lentorello)

                 

17

-

dim.

         

14

-

 

      

 

  

         

 

                        

-


3 20

 

     

   

     

p

    

23



   



dim.

cresc.

   

   

meno f

      

p

   

   

 

        

                    mp           pp

meno f

                 

Poco largamente

26



        

          

poco p

    

              

p subito

dim.

          

 

              mp molto mf meno f            poco più f

     

     

  

sul D

         p     


4 29



accel. - - - - -poco più animato

mp

   

poco cresc.

   

poco più f

          

 

          più f

          

 

più espress.

          

espress.

 

-

-

  

 

-

-

-

-

 

     

mp mesto

 

dim.

 

         

Mesto e struggimento

            

     

       

 ten.   

35

-

  

 

 

                  poco pp  poco cresc.     

rit.

32

più f

       

        



p

     



               ten.

  

 

sostenuto

     

 

ten.

 

   

     


5

     

38

       

  

41

     

               

  

  

   

44

p

  

  

 

          più dim.

         

   

                                  

poco accel.

-

poco cresc.

 

     



poco più f

-

-

-

      



            

 

-

rit.

-

-

-

       

 

-

Lentorello

p

dim.

 

         poco cresc. più f

  

p

meno f

 

 

                                      più espress.                                      


6

  

47

  mp        

cresc.

ten.

      

poco mf

                                        

poco rit.

  

50

p

    p

-

  

accel.

-

-

 

  

poco dim.

        





    

      

mf

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

Più calmato, come prima 53

 

 

  

   

 

mp

A tempo

cresc.

  

       

-

    

     pizz. vib.

pp

    mp            

    

   



pp delicato

 

  

arco



 

    

p

      

                  


7 56



Poco più con rubato

   

poco p

   

59

   

 

    

 mp





    

poco f

dim.

 

    

                      

  

 

 

A tempo

   

mp

        mp

            

       

        

poco più f

           

                    cresc.

          

          

                       

62

 

                        


8

    

65

 

                pp dolce e delicatiss.

    68



             cresc.

 

  

 

  

       

p

  

     poco cresc.                          poco f



       

  

  

      

più f

molto

 

               

 

mp

p subito

       





più espress.

    

                         sost.  mp             75 sul D                            più p pp p                    pp più p                  

mp

molto dim.

                  71        p

    

 

  

   

più dim.

       

 

   

12-15 August 2010

Profile for David Lewiston Sharpe

David Lewiston Sharpe - The Field of Reeds (violin & piano)  

Idyll for Violin & Piano

David Lewiston Sharpe - The Field of Reeds (violin & piano)  

Idyll for Violin & Piano

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