FAINGOLD - Prelude: The One for Whom the Song Dreams, for solo piano - SCORE

Prelude: 'The One for Whom the Song Dreams' for solo piano originally for cello and piano

by Noam Faingold

Technique and Interpretation Guide General In general, this piece should be approached as a "traditional," Romantic work. It emphasizes melody, line, a spectrum between sonority/color and harmony, and note connectedness. The top line often has the important notes, and notes in moving lines in inner voices should be brought out while other notes sustain.

When it is not clear which notes/sonorities should predominate, dashed lines indicate where the line exists within a complex gesture. This occurs in bars 16 and 21.

There are times when sonorities/harmonies play the role of the most important note. The performer is encouraged to interpret where these moments occur, when no single note is more important than the whole sonority.

Repeated note groupings, such as in the right hand in measures 16-17 should be brought out, without treating them as the primary line.

Rubato and Phrasing In this piece, rubato is intentionally connected to legato and phrasing note connection. Therefore, certain passages require extensive stretching to the performer's taste. This should be informed by each individual performer's decision on how to comfortably connect the notes.

Any such stretching of time should be careful to allow repetitive rhythmic gestures written into the texture to come out, such as repetitive note alternations and echo-like gestures. Bar 22 for example, is the climax of the piece, and cannot and should not be played in strict time. The performer should "lean in" to the required stretching, aiming to maintain the relative rhythmic proportions.

Coloristic Eects Coloristic effects fall into several categories: -

Color change over time through octave displacement and octave doubling Overlapping/blurred harmonies and sonorities, sometimes through echo-like gestures

Special attention should be paid to these coloristic effects. Making the work's intended texture audible often depends on the performer being aware of which notes shold audibly overlap and ensuring the rhythmic relationships are clearly articulated, both in starting and ending notes.

Prelude: 'The One for Whom the Song Dreams' Originally 'Prelude for Cello and Piano' Score

arranged for solo piano for Riko Higuma

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