Utsyo Chakraborty - Piano Album I

Page 1

UTSYO CHAKRABORTY

PIANO ALBUM 1

2019-21


A Page from a Horoscope Album Utsyo Chakraborty (2019) Flexibly. Spaced out. Calm. [ = 60]

 4

        

   

  

     



 

  

   



   

              

  



 



 



  

    

   

11

( = 80)

8



 

 

         



Tempo I



 

     

          

  

 

  

( = 80)

  

3

3

3

 

 

             

 

 

3

   

     

3

  

  

    



hold

  




Tempo I

     



clearly sung

 

   

  

 softer than the right hand!

  

17

  

14

  

  

  

 

 

 

3

 

 3



 

  

 

 

   

 

       

23

2

   

 

      

     

 

 

   

   



  

 

     

 



     

      

like a gong



  

 



    

 

   





     

       



clearly sung

 clear     

   



r.h.

    

 

Tempo I

        

 

 



27

 



       

      

  

 

 

3



rit

20

 

  4 3 2

 3


Stratified Nocturnes

4

7



    

5:4

 

        

     

 

               

6:4



  



 

 

                                   7:4 6:4

()

 

 

 

 

          

     

        3:2            3:2

             5:4



   

   

    

3:2

    7:4



 

3:2

 7:4

    

    7:4

    

    

     3:2     

    

 3:2         5:4

 





    

6:4

        

3:2                       3:2 3:2   3:2    5:4   5:4                         3:2 7:4 6:4 5:4                

()

          6:4

()

6:4

  

              

 

  

 

   

  



6:4

   

10



Very Slow. Ecstatic. Rubato.  = 40

Utsyo Chakraborty (2018-19)




          

12

     ()

3:2

3:2

       

    



3:2

    

                    5:4   5:4  

2

   



3:2

3:2

  

9:8



3:2

6:4

        

          5:4

5:4

         

  

 

     

 



          

5:4

5:4

       

 

5:4

              

              

5:4

5:4

     

        

 7:4

   

 

3:2

 

  

   

5:4

       

     

 

7:4

 

3:2





5:4

  

    

16

 

     

    5:4

15

 

  

7:4

3:2

   

9:8

 

      

3:2

   

14



3:2



                            5:4

6:4

     

   

5:4

6:4

         

5:4

5:4


          

17

3:2

6:4

                     

as fast as possible

    

  

  





 

 

 

 





  7:4

 

    

6:4

       

3:2

 



 



7:4

 

 5:4

    





 

  

   

       



         

3:2

3:2

5:4

6:4

6:4

3:2

5:4

         

5:4

      

 

()

  

7:4

   

7:4

 

3:2

6:4

            

                          7:4

   

3:2 7:4

 



()

 

  

 

7:4

  

6:4           

()

 

  

    

   

      7:4

6:4

       

  

7:4

3:2

    

21

7:4     

                     

 

20

 

5:4

19



  

               6:4

6:4

 6:4

                 

6:4                             6:4

 3


23

6:4 6:4                                                 

4

 6:4

6:4

             

6:4

                

  

()

27

 durata: 2'40''


Maquettes       



    

 

   

3



accel.

  



Agitato, regular, non rubato! [ = 100]

    



   

      rit..

    

rit..

     

                  

   

  accel.   

As before. [ = 80]

          

Utsyo Chakraborty March,2020.

 

 

optional arpegg.      

rit..

5

  

 

   

 





 

  

3



                 





I. CROSS PLAY 1 : to Ian Parsons. Rubato, bluesy [ = 80]

Five sketches for piano.

3

    

   



3

    

rit..

   rit..

 



   

accel.

   



   

3

 


Very regular, with motion [ = 100]

  

                      

  

        

 

  

        

    

 





        

     

  

         

  

 





 

 

      

 

         

                          



                            

               

  

                                                                     

2

     

 

  

           


II. MOMENT OF DAWN: to Gil Sansón Calm, expressive [ =50]

 

    

     

  





 



 

 

3

  

 

     3

    



 

  



 3

 

  

 3

  

   





          rit..

 

         

  

3



             

rit..

5

accel.



 

  

 

     

 

cluster: white keys

   

3

 

3

Gravely slow ( = 20)



   

cluster: black keys

3

5

         

    

 



             5      





    

 

  

3

Slightly faster [ =60]

        

 





3

accel.

 

 

     

3


III. CROSS PLAY 2: Stately, but getting exhilarated sometimes. [ = 90 giusto]

  

 



   

         

 

 



 

  

    

      



   



  

   

   

3

   



3



 

    



 

       3

3

 

 

 

   

 

 

3

  

 

 

3         3



  

 4

 

 





   



 

 





  



 

 



ad lib. (free in durations)

         

          3       

 



 

    

 3

 

 

    



 

  




 

 

↑ 

 

    

   

  

 



3

 





 





  

 













5





 

     



 

Slower [ = 76 ca]

     

 



 

 







As before [ = 90]

       



 

 

 



   

 

  

 

    

 

  

Slower [ = 80 ca]

      

  

   

         

            

 



 

   

 

 

 7

5




6

    

   

    



Chant like, tender [ = 30]

 

    

 

 





    





 



3

  



     

 





    



  

3



3

    



 



 silenzio assoluto!


IV. CONTINUUM: to Pranav Sivakumar Flowing, never harsh. Pedal depressed throughout [ = 65]

 

 

  



     



  

 

 

 

 





   











 

    

 



  







 

 

   

 





 



 

 

 

 

 





 







 



 





   

 





 

 













 



 

   

 





 



 



 

 

  



  

 

7


   

       

  

 





 

 

 

 

 

   







      

   

 







 



  

    







   

 





 

   

  



 

 

 





 

 

 

       

  



   

 

 

 

  

 





 







     





       



 

   

 

 



 







8





 


V. CROSS PLAY 3: to Daniel Plante Volatile. With agression. [ = 80]

      

                                                          3  

      

3

 

       

 

      

                            3

3

 

  

 

      

                       3       3                      

       

3

               

    

 

Volatile, as before. [ = 80]



                        

3



3

accel.

    

                     3  Bluesy. [ = 60]

              



                               3                                

     

   

  

 

3

 

           3

                   3  3      3 3                     3       3

      3        3

9


Slow down suddenly. Now gather momentum! [ = 60]

 

   

10

 

 







 



3

      

 

  

3



 

 

   3

        

3

3

3                            3

3

accel.

      

 

 3

     



 





3

3



Intense, fast, agile! [ = 80]

                                                   3                                                            

  

    

27

   



                    



              

agressive! con fisto 



     

   

               

        

     


to Hyacinth G, with the warmest admiration

...standing, still...

Version 2 (Corrected, 10th June 2020)

Utsyo Chakraborty (2020)

Static, with mercurial flashes ( → 50) ad. lib attacks to be played only after the entire chord has dampened away!

  

  

   (fading away)



 

 

      

 

  

  

  

 



  

   





 

 

  

    

       

  

 

11



  

    

  

 

  

   

  

sim.



  

7

 

[resultant effect]

 

  

  

  

  

 

   

   






  



  

   

 

  



 

    



 

 

 

   

 

23

 

   

 

  

 

 

     

 

  

 

 

  

 

   

   

   

 

 

2

 

 

  3

17

 

l.h as fast as possible 

 

15

 

 

  

 




as fast as possible 

29

   

  

   





  

l.h

 

 

  

 durata: 2'

3


to Pervez Mody, with the utmost admiration and respect

Gloss

Utsyo Chakraborty 15-27th June, 2020.

on the Mystic Chord Molto Rubato. Dreamy ( = 52)

5

9

  



3                                         3

3

dry, harsh

 

  

            

(optional arpegg.)

 

  

 

  

   

3

 

  

     

l.h.

 

3

     

 

 

  

3

3

 

 



cantabille

3         

3                      3

3

3

       3 





   

  

3

    

 3          3

 

 

     l.h.   3 3 3              3 

3

     3

 

     l.h.  3         3 

sim

15

     

3

3

12

     



3

dry, harsh

    

 

freely

 

7

 



  

 7

7



 

  7

 

 




  

    

  



    

 

 



 





 



   



   

 



like bells, fading away to nothing Make sure that the breaking down of the chord is noticeable

18

 

lightly

   

 

25

2

 

 

hushed

        



 





cantabille







 



 

 

3

  3  

    3

simply sung, clearly

  

press down notes, deeply

  

   

 



Tempo giusto

22

 



slow arpeggio

 

hold till sound fades away

 

(Observe tied notes. Make sure that the released notes do not sound. The effect should be that of fading away)


in memoriam, Leon Fleisher

Remembering Leon for Left Hand, alone

Utsyo Chakraborty (2020)

Spaced out, expansive. ( = 45)

           

 

 

 

 

4

  

 

    





     

 

 

   

  

3

 

   

  

3

  



 

  



   

  

 

 3

 

   

    

 



 

10

 3

 

3

 

   

3

3

3

3

7

3

  

3



  

  

 

      3


 

 

  

  

  

 

 

22

 



26

 



 

   

 

   

3

   3

 

  

 



 

 



 

 

   







  

 

 

19

2

3

 

3

16



 

    

3

 



 

14

 

   

  



 

3

 


28

 

31

 

   

 

3

 3

 

   

3

 



3

 

 

 

   

3

  

34

 

  

  

 

    

  

 

3


to Saptarshi Chowdhury, on his 20th

...converging to an unrealistic reality... Utsyo Chakraborty (2020) Ephemeral (like an absurd, quickly changing fantasy) [ = 120]



10

 

 

17

  

  

  

  

 

 

  

 

  

 

 

  

   

22

     

 

 

 

 



 

  

  

 

  

      

    

 

  

 


25

 

   

 

3

           



2

3



3

3

3

3

        3 

     

3      

  

3

    

   

  





3 3

 

3

 





   

3

  

  

3

3



3

    

3



3 3 3   3            

3

       3

3

   

3

3

      

3

3



3 3

3



    

3

3

3

3

        

3

       3

3

 

                                                                 

 

 

       



















        











 







() 

                  

46

3



43

3

3

 

                   

3

39

3

34

3

                   

30



3

    

     

()

                                              

 


   49   

  

  

 





5

5

 

 

   

   

  

 

 

 

 



  

      6

 

      

5

  

  

  



              

  

   

    

 

  

3

5

 

  

5

 

   

  

5

5

5

 

 



  

 

5

 

         

     

5

 

 

              

78

5



5

72



5

66

 

60

5

   

5

5

  

5

55

 

  

6

  

             6



     6

6

 3


84

 



 

6

 6

 

  

  

6

 

 

 

  



6

 

  

 

6



 

6

6

        

 

 

 

 

 

 6

6

 

6

6

 

 

6

 

6

6

 

6



6



6

6

   

6



 

6

6

()

6

6

 

94

6

6

92

6

6

6

6



6

6



6

 

 

6

6

6

90

4

6

88

86

 

 

 





 

6


96

 





 

6



 

 

 

6



   

 







6 6

98

            7

    

100

7

7

              7

             

() 

 

 7

 

()

7

             

7

7

 



 

 

7

             

7

7

7

106

             

 

7

             

 

104

7

7

102

             

7

7

      

             

7

7

7

  5


             

108

7

 

()

 

  

114

  

 



 

()

7

7

    

   

 

                          

  

 

                         9

9

() [ = 65]

122

6

[ = 80]

119

 

()

                          

[ = 100]



 

110

 

3

    

 

()

 



 

 

 

 

 

3

3

 

             

  durata: 2'45''


to Liam Furey, with admiration

...my reflections hang in balance... from "Two Studies in Contrasts"

      

Utsyo Chakraborty.

               

Sensitive in touch, thoughtful, held back, never agressive, molto rubato. [ = 50]

8





   

                     3





  

    

 

  

   3

   

 



     



3





 

 







    

    



 

  

  

   





 





  

 

rit.



3

  

 

  

 

 

3

 3

  

 



 



  

3



  

  



3

3

 

3

    

3

 

3

      

      

  

13





5

3

  

 









 


Slightly agitated, [ = 70 ca.]

    

16

 

 

 

   

 

 

   



 

3

      





3







 



 



 







       

    



6

        

  



      





  

29

 

 



   



  3       

   

   

  secco

     

3



 

long!



 

3

  

              6 6

[Original tempo  = 50] 6





3







 

 

 



 

         

6

   

 3

25

2

    

6



 

  

         



 

 

3



 

3

        

   

3

21

 



        

 

    

3

  




Utsyo Chakraborty

Balance on E from 'Two Studies in Contrasts"

 

5

  

 

  

  

 

  

 

3

  

    

  

     3

 



   

   

   

3

   

 

 

3

 

   

 

 

3                           

 

3



 

      3

  

 

3

9

 



 

3

 

     

 



     

(with sostenuto pedal throughout)





  

     

Flashing [ = 80]



  

    

   

    


 

     

13



17

 



 



 

  

         

  

5

 



  



long

 

         

 

long

  

   

   

3

3



       

 

21

 

  

3

 

 



 

 

 

  



2

    

       3              

3

    

 


 

26

 



        

 5

  

3

       

3

 





  

3



 

   

3 



 

 

3

  

  

32

 

   

        

  

3





3

  

3



3

 

 


4



  

     

 

    

3

  3

   

 





 

   

  

  3

43

      

     

 

3



   

    

   

         

  

 

clear  (for both staves)

   

          

47

     

 

 

 

3      

 

         

3

 

      

3

3

3       

     



37

  



     

    

  

 



ominous            



   



 

 


Molto meno mosso. Static [ = 60 c.a.] 49

 

 3      

 

     3

     

  

 

3

 

  

55

    

  

 

 

 

3    

   

 

  







 





 

Release Sost

3

↓ 

    3









  

  

stacc.

3      

5


Haiku Utsyo Chakraborty (2021)

15 measures for Mico

    

co

no

  

       

  

12

 

A

 

q

ui

   

   

 



    

      co

    

8

 

rit.

   

     



  

 

        

    

   

  

 

  

   

  

     

    

    

    

     

rit.

       

 

 

           

   



   

no

          

          

  

  

   

  

 

a tempo  = 50



ui



q

  

  



 

4

A

             

  

 

Mi



    





  



[ = 50]

    

 

Mi

Slow

  

    

  


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