Facing the Night - Utsyo Chakraborty

Page 1

UTSYO CHAKRABORTY __________________________________________________________________________________ __________________________________________________________________________________

Facing the Night

Three Nocturnes for Solo Piano


To Anand Seshadri, with the greatest respect

"Facing the Night" is a set of three nocturnes composed out of a long-standing desire of writing something exclusive for Anand Seshadri, who has always been a consistent and encouraging supporter of my music. Written in the wake of the COVID-19 pandemic and having been afflicted by the third wave in the early days of this year, I felt a strong urge to tackle this issue through my music. I wanted to reflect upon what I felt about the virus and its far-reaching implications on the lives of us, common citizens of the world. What came out of this process of rumination were these three shadowy pieces along with coming to terms with the stark self-realisation that nothing is and never will be the same after this viral rampage.

The three nocturnes of this set are: 1. Mystère – a study in trills, tremolos and various permutations of the minor second interval 2. Lumière – flashes of light, sometimes evanescent while sometimes prolonged sparking through the darkness 3. Hymne - a consolation; a tender sigh of moving ahead.

The cycle should last approximately 10 minutes in length.

-U.C.


Mystère

         5  Light, suspended [ = 50] Differentiate dynamics!





 

         3  

 

s.

           4                3 3 5 5            

          

   

8

3



     3

 

   



()

          

3

 

5

 

               

5

 

  

                    





 

    trillo    

5

      3

3

3

 

5

    

                

             

12

             3 5 

                 5 

()

gl is

I.

 

 



5

 

                5 

         3

    


  

15

18

 



 ()

  

 3

 

 



       

  

 

 

 

     



  

 

3

 

          3

()

   

 

  

 

3

3

 

      

   

 



 

    

 



 

 

             25                       

         

 

 3                 5  

22

   



2

  

 

    

    

 

3

  

      

             

3


5

  



 

  

 3

                 3            3       

                       

       

3

 

36

 

  ()

 3

5

      





      



 

 3



 

 

3

         

                    

7

5

3

             3

         

      

3

 





    



   

    

     3        



   

32

34

                        

s.

 

3

  

gl is

 

29

♭            



3

    

3

   

3


4

 

 38     

   

 

 

()



 

     

   

s gli

s

k) l ac . (b

3

             

5

3

5

 

     

harsh

42

 



     

48

 

3

            

gliss. (black)

like snow, slowly descending 

 

 

40

  

  

  

 5             6 

 

    

rubato

 

    

    

  

 

    3

              5     as before, hushed

  



 

 = 30 molto rit.                                         3 5 3 3 5 5   



 

 

slowly raise pedal


 

II.

                             7 7         7           Lumière

[ = 120]

  



 3   

7

      

   

crystalline 

        

   7    

      

     

     10          

                

       

                 

   

               

     

                                               

                       

      

            

     

      

             

3

            3 

  

     

  

           

          

        



             

3

            3 


  

2

   

Rubato [ = 110]

13

3

   

3



slow arpeggio

 

     

16

  

6



6

 

19

 

     6

6

                          6

 



     

6

6

6

                         6

6

6

6

                                             6

6

6

6

6

6

6

6

                                           6

6

6

6

6

6

()

6

    

21

6

6



6                                                        

6

6

6

6

6

6

                                       6

6

6

6

6

6

6




 

23

 



6

()

   

25

    

()

   28    

7

      

              

32

           

                  

     

As before [ = 120]

                          6

   

 

  

7

    7

  7        

          

    

                          

  

 

radiant     

          

 

 



 



 

 

 

       

              

        

7

              



                        

            

 

  

    

crystalline 

                              

  

7

 



3

      

         

       


37

 

 

  

   

  

49

 

 

       

43

 

  

  

   

  

   

 

 

 

   

    3

   

 

       

    

 

   

  

 

     

      

   

 

 

 

  



    

                                           

         

  

 

       6  3 6

slow arpeggio        

 

           

        

53

 

 

  

       

     

          

 



4

 



       

   

              

   6



 

  

 

                



 

 


   

III. Hymne



   

 

     

5

Poignant [ = 72]

 

 

 

        

 

tunefully                

9

13

 

   

17

 

  

 

 

 

     

      

 

 

 

 

 

        

 

 

  

 

 

 

  

 

  

  

 

 



 

      

    

  

 

 

 

 

 

 

  

     

  

  

  

 

                  



 

  

 

 

 

 

 

  

 

 

 

  

 

   

 

  



  

 

 

 

  

 

   

 

 



      

 


2

   

21

 

  

   

 

      

 

25

     

 

 

 

 

   

 

   

 

 

 

38

 





 

 

 

      

    



 

 

 

 

 

   

 

 

   

 

 

    

     

34

 

 

29

 

   

   

 

  

 

 

  

5

 

     

  

G♯

     

 





 

 

  

   

 



 

 

 

 

  

 

    



   

   

 

     

   

  

 

pedal lightly

            

       

   

           

   

 

 

 

  

  

 

   

 

   

 


  

 

42    

 

 

 

 

  

          

         

 

  

46

  

 

50

  

  

54

58

     

    

   

  

5

 

 

  

 

  

   

 

  

 

 

 

 

 

 

 

      

 

  

 

 

     

 

 

 

 

   

 

     

   

 

 





  

   

  



   

    

 

 

     

  



  

 

 

 

 

 

 tunefully         

 

   

 

vanish into the distance... rit.

    

 

3

 

  

 


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