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Three Movements for solo piano

Stuart Beatch


Three Movements (2013) for solo piano Stuart Beatch I. Spiral II. Meditation III. Sprint

Program Notes In this brief work, it was my intention to present three diverse approaches to the concept of motion natural, spiritual, and physical - while also exploring the physicality of piano playing in the process. Thus, the title of the collection alludes to the diversity of the three pieces, as well as my point of inspiration. The first movement, Spiral, is an energetic tornado, with syncopated dancing rhythms running a vertigoinducing helix around the central section: the eye of the storm. Despite its energy, the storm dissipates almost as fast as it appears. The second movement, Meditation, imagines Olivier Messiaen alone in the woods as he meditates. The three independent staves represent the three spirits which speak to him: the voice of the birds, the voice of the earth, and the voice of God. In the final movement, Sprint, the piano part features a variety of colourful scales which run a marathon across the keyboard, accompanied by the pounding irregularity of the runner's heartbeat beneath it.

Duration: I - 1'35" II - 1'35" III - 1'25" Total: 4'35" First Performance: December 10, 2013 in Studio 2-7 at the University of Alberta, by Roger Admiral, piano


Three Movements I. Spiral Restless and agitated (q = 126-132)

                    fff

     

   

 

   

 

 

(Sus. Ped. as needed, but as dry as possible)

         

5

 

    

  

          

S.P.

    

7

 

 

 

       

ff sub.

  

  S.P.

                fff

    



sffz

 

 



mf

                               

  



ff sub.

  

   mf

S.P. (Sostenuto sempre)

3

   

  

Stuart Beatch

 

Copyright © 2013

 

mf

  

      




9

            ff      

                       

11

mf

 

2

   



       f

             

            

   

 

    

   

ff

     

       fff

 

   improvise freely on these pitches;        create a hushed, blurred texture  B           p sempre Much slower and very freely (q = c. 80)

15

mf sub.





mp

(Ped. each chord)

  

        

  

 

A tempo (slower)

 

mp sub.

 

 

 





               Faster (q = c. 108)

            

 

ff sub.

 



Faster still (q = c. 112)

                       ff martelé sffz                   (Ped. as at beginning, al fine) 

S.P.

 


3

       ff f      sfz                           S.P.

16

Tempo I (q = 126-132)

                           

19

                  ff

   

sffz

f

sffz

  

                 S.P. sfz

         f

         

ff

    

    

f

      

                     

21

 

  

   

        

 

 

                             23                                    

                                                    fff

sffffz


II. Meditation Very slow (q = 52)

 sempre

(voix des oiseaux)

 

            

continue repeating as fast as possible



ppp sempre

(voix de terre)

    

p static

 

 



            

3

     



 







  

5

    

  (p)

 

(voix de Dieu) f

   

 

   

   

   

  

     3


5

 7

       



  (p)

 

3

   

     mf 

5

  

 

     

             f  

9

    

 





            







    3

        

             

stop suddenly, as if cut off

    

11

  

  (p)

  



5                         mf f  

     

 

    

3

            mp

p

 


III. Sprint Fairly fast and crisp (q = 108-112)

          mf

                     senza ped. 3

    

  

6

     





  

    

ff

     

    

                                        

           sub. p   

     

 

                                             f                                           

         

9

                 



  

     

                                   

 


7 11

 

 

14

 





     

17

 

   

  

 f

          



f



  

   

   

  

  

 



 



 

 

 

 

 

                  

  

  

fff

 



   



                 

  sffz sffz                                                                         

ff

     



                               

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

                            

                     

 

22

   

ff

sffz

     

24



             f

     

                    

  



  

    



      


  

26

sfffz

    

       mp

8

                   

     

mf

    



                                            

29

         

            

33

ff

                   

36

 

fff

            

42

    

     mp

f

    

 

  

 



                           



                                                          

 

    

  

                      

         

    

mf sub.

         

      

  


9

                                               

44

 

 

 

   

                       

47

f

             

 

 

 

                          

      

      

ff

   

                  

51

          

fff

                    

 

               

49

 

        

   

          fffff

   (chromatic  palm clusters)  

    

       

  

 

Profile for Stuart Beatch

Three Movements, for solo piano  

3 Virtuosic Miniatures for Piano - Duration: 4' [learn more at stuartbeatch.com]

Three Movements, for solo piano  

3 Virtuosic Miniatures for Piano - Duration: 4' [learn more at stuartbeatch.com]