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Four Commentaries for piano and violoncello

Nigel Morgan


This study score has been downloaded from the website archive of composer Nigel Morgan. The PDF file is solely for personal study, repertoire research or educational reference. It is not intended for use in public performance except in educational situations when an extract is required for illustration purposes. Performance scores and parts are available from Tonality Systems Press in two formats: as standard printed and bound paper copies, and as PDF electronic masters carrying a special electronic license for an unlimited number of performances over an agreed period. For more information please e-mail Tonality Systems Press.

ISMN 979-0-57043-011-6 (Study Score) ISMN 979-0-57043-012-3 (Parts)


About the music During 2007 I had the opportunity to hear performances of three entirely different compositions of music for cello and piano: Shostakovich’s Sonata, Alexander Goehr’s Fantasie and a revelatory performance of three of Beethoven’s Cello Sonatas. Following the Beethoven experience I felt I could no longer sit on the fence deliberating about this challenging combination of sonorities and chose to write a preliminary work that explored how my own musical preoccupations might react to the cello and piano duo.

Four Commentaries

Four Commentaries was written with Beethoven's F major sonata Op.5 No.1 open on my desk. On the first page of Beethoven’s score it became obvious that sequential harmonic and melodic movement was something largely absent within my musical style. My first task was to attempt my own expression of such sequential movement as a building block of a composition. Furthermore, a comparison with this early sonata and the mid period Op.69 in A Major showed that Beethoven developed a sophisticated approach to voice exchanges, shifts of register, changing of rhythms and articulations. I have tried to follow a similar path: the piece opening with the cello occupying the acoustic space between the treble and bass registers of piano and then gradually exploiting all kinds of textural relationships and combinations.

for piano and violoncello Nigel Morgan

All that said the work is not a set of commentaries on Beethoven’s sonatas – that is perhaps a project for the future. The subject of commentary here is the first movement of my own first Concerto for orchestra (2004). Each commentary looks at the melodic material of the music focusing in turn on a different musical element. These elements are expressed using the celebrated descriptions of composer Sam Richards, descriptions I continue to find a source of inspiration and challenge. They provide a kind of subtitle to each commentary. The work is dedicated to Martin Roscoe and Moray Welsh whose performance at the Beverley Chamber Music Festival 2007 I was privileged to hear.

i


ii


. . . rising, falling, hovering

Cello

Piano

 4 8

3  4 

3    4  3   4  10





  



 = 65

68 

 





















()      



enfatico

   9



8 

89 







cresc.

48

68



   68 4



 8

5



agilmente

 





85 

9    

8 cresc.

 

89  









5    

 8

 85 



 89

    

  89

 

 85



5 8

85



43



 



3 4

  



43

24 



 





2 4

    

 











24 

43

  

48 

43 

48

    83  24



  



  43 





48 

83

cresc.







  

83 





24

24

Š Tonality Systems Press 2009


15



pizz

2  4



 2 

  4   2   4



3  8

24



  3    8





 3



 8  27



38 ()





 

24

24 

deliberato

24  24

43  43

43









24 

 

 



  







 

2

43



43

sub.











2 

4 24 

85



85



78 cresc. 78 

cresc.

78







3 8



83





 34

  

  43 

83



 



    











24



43 43 85 semplice cresc.

3   8 

3  8

43

arco

22



165

poco staccato 

4 

5 3 8

16 4 

    

   48 3    165    



4 







  

(en dehors)

  





48

  



 













83 83 83

88

 88

88










 8

8    8 

   

      8   88





32

24



2 



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68



4  4

43

6

8







68







3 5 4     8    





 cresc.  43   



85



4   4   

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44 4 4 44

3 4 43







allargando



     

  



22 24  45

  

44

sub.

2   2

   2   2

  



48

22

piu mosso

cantando e poco meno







  43 85 

a tempo

37



 

 

 



 



  

 





 





 24

 

      45  

   

24 5 4 3



   

 

 

4

2 8

2  48 22  



poco ritard. ed allargando

43



 

43 

  

43





  attacca


innocente

48

 4 4

Cello





2  4





2

  4



2  4

 

 





. . . rate of change

deliberato

articolato



5  8

 14

41



41  

34     gracile



43 

43 

43





43























grazioso

 



44 

44

44  









 en dehors

83



43  



83



83

 4

24

cresc.

 7 43 8 

 7 34

8

85







78

delicato









  

34 sub. 

5



8



57



44    44 

Piano

52

 = 56



41

43 





  

41 

43      

 41

43    

24 24


62





articolato







      





 







44

 





44 







44  



7



  8 



 



 

78

    78    











7   8  78 

 

 

 

    

7   8







  

24

 









 





65

70

cresc.







 



41





24

41 

24

41



85



 98



cresc. 89

89















68



85





cresc. poco a poco



85 

68

85



2



4

24

5

68  



4  4

24





85

78



78

85





78





44

 

 





 44   



 


leggiero







 3 

 8   cresc. 

 3

8

  

  

   cresc. 

83

 

 75

24





24

 24



 83 



2 

4

83

 

24

83 

24



leggiero

80





  



 



cresc.





 

 



34 



 cresc. 

85



3   4  



cresc.

3    4 





24 

24

 24



24 24

24









41 24 

41



24

41

24





43 

  89 



43 

 89   



89  43 

   6

!

!





78

 



3 4

78

 78  





 

 3  4  





 



   

43  43 

43

43



41





41





41




90



grazioso

1

 4  1 

  4   1   4

44 

44

 44 



 







 

24



7  8

7   8 

7  8

articolato

deliberato



 

24  24 ( )

    

 24

24



24  24

 





24

attacca

7

24

en dehors

95









78

    78 

 78 


risoluto

99

 7 

  4 

7

 4  74  

Cello

Piano

103







pizz.



 

 

 





3  4



3   4



3   4 ( )









 

89   



. . . what happens together

arco

44





 



 44

44 

 



43  



89

  

 98 







78





 78



 

78





43 









preciso

108



 = 120

 8

43 





 











 

44



43



44



43

 



 

 



deliberato

44



43

98

44

98 

44

98 



44


113



4  4

pizz.



4

  4

  4

 4





4  4 4

  4 

4  4



( )





 



 



7  8

 

122





 

89

89

89 







             

 

 

44







 

9





  

















44    



44





  

 





  44   

89   

cresc.

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89 

pizz.

 34 44

  7 44

 

43    8  

 78 

   











      

  

43 



43  

animato

117



43  

43



arco



89

 

89

 



arco

89









44 44 44

78 78 78

44 44 44




126



4  4

4   4 



( )  ()



4  4

 



44 44   44

136

4

 4 ( )

4   4



)  (  4  4

 

 













 





 





  



   

 





6  8

6  8







6   8





130



affabile

78 78





leggiero

 78 

74





  

 

74

    74  10

24









89  



68

2

4 24



89  

 89

44



68 68 68

44

 

68



44

68

44



44 

44








140





  



chiaro



 

 

   



 

non dim.

 





  















 



attacca

11


145

severo

  = 52

 9    

 

 8



9  8

Cello

Piano





7  16

  

7 

 

16   



44 

7    

  16 



5  4

5   4

 = 75 con sord.









 

68

sul pont flautando













 





44 









     





(tempo 1)

68





soffocato



54  

 











   * make these empty bars long enough to prepare the listener for a different tempo, timbre or style of playing



  = 52

68 

  

 leggiero 68

  12

89 

allargando e bravura













24 24

   



45 

45 45

   44     



89

89

     167

   



      167

44

      

normale 44

accel. a tempo 2

   





 

 = 65



167

68 

 impaziente 

68 

accel.

* see note below



    

 = 80

44



discreto

157



tempo 1

 

98     



150



 

. . . where things come from

  = 80

  

24


162



2  4

tempo 2

 = 110



2

  4  



  24     170







  

 178



3

 4 

28

28 

28 

pizz.

74



24

 24

    

24 

 

  



 senza sord. 74 

 

 

  

74

 



 

 

 accel. a tempo 2

43   

43 





      3  4  

85



85

 

 



3



   4     

     



 

34

   



tempo 1

24

24 



 24  

  tempo 2

  





 = 110

28



  28 

 

28 



 

  

78   

28 

 

  78 28 

 





 







78    28  

 



 13

 = 80

28



ritard. a tempo 1

85   

accel. a tempo 2



28 

28 

 tempo 1

arco

24

 24

 24 





       

 = 80

78

 

inciso 78     78  

tempo 2



 = 110

 

  



 

 





43

3      4  



43





 








   6 8  



6  8   

 6     8 187



2  8

  





2 

  8

 2   8 



206



6   8

 

 = 110

     





tempo 2

196



ritardando ed allargando a tempo 1



  





 

   

68  68



 

68

 



  

68 

      

 68  

 

deliberato



tempo 1

 = 80



28 

 

28 

 

 



85  



 85

28 

 

85



 



88

88

  

  

 88      

 

ritard. ed allargando



tempo 1



         







28

 = 80

28 

28 



14

28

 = 80

28 

 28 

68

 

 

tempo 1

ritard. a tempo 1

68



68

78

accel. a tempo 2



 

 

      



animato     









28 28

  

78 

   

 78

78      

  



 78  

 

 78

28



68 68 68

43 43 43


212



3  4

tempo 2

 = 110

85

giustamente

3   4 







 34     



tempo 1

 2    4

 = 80

85 







44

24

 44 24

          



cresc.

  





44 24





78



2  4

   





78

 



 









    





pizz.

 = 110







24 24 15





 

       











ritard. a tempo 1

















  







24



accelerando a tempo 2



    

 



tempo 2

 

 

 

220



 

78

 



scorrendo

2   4

accelerando a tempo 1

trem.

85  







217

 = 60











tempo 1

78

 = 80

78

preciso

78  

 



 




Four Commentaries, for Piano and Violoncello