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The Voice of the Masses A four movement “narrative sonata� for solo piano

Composed by William Peacock


Performance/Program Notes The Voice of the Masses is a loosely programmatic work for solo piano based on an alternate (or perhaps imminent) reality where the citizens of the United States rebel against the government as a result of the 2016 presidential election. Each movement represents a particular event in the narrative, and each is titled appropriately to reflect this. I have tried my best to aurally replicate these hypothetical events and real sounds solely through what is possible on the piano such as alarms, gunshots, and even cussing. The piece begins with the inauguration of Donald Trump, and invokes feelings of disgust and humiliation aurally through the corruption of classic American melodies. The following movement is a scherzo and a blazing flurry of hatred, and ends with rioting by the people throughout the country. The third movement represents a moment of resignation and careful plotting of an uprising, while the fourth movement completes the work with the uprising coming to fruition, and ends with a shot to Trump’s head from a bitter assassin.

Approximate length: 10’


THE VOICE OF THE MASSES I: THE INAUGURATION

William Peacock

Pompously ( = 120) (tune is from the U.S. presidential anthem "Hail to the Chief")

                  

              

       



 

             

6

                             

11

15

     

            

 

 

   

   

             

                                       

                       ()



             

      



    

       

              

                 

              


19

24

                                              

                                                        

  

                                 

3 

  

29

 

3 

 

3

 

 

3

 

 

 

 

                            

             

2

   

       

                   

                            3

 

3

 3

 

                

     

 39

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

33

    

                                               

mockingly grotesque                                                                  





 

               

3

 

3

 

   

 

3

 

    

 

 

    

      

 

    



3

 

   

 

3

 

Quasi chorale ( = 80)  (tune is from the hymn "Amazing Grace")                              


48

                         

                                                             

       

57

   

                                                     



   

    



 

         

  65

  



 

       

 

3



          

          3        3               



 

   

3

      

   

 

3

             

    

 70

         

       

  

 

          3

                  rit.



 

   

    

4 3 2 1*



 

2 4 5

   

1*

as percussive as possible *thumb shares top two notes of l.h, and bottom two notes of r.h.

3


THE VOICE OF THE MASSES II: THE REACTION OF THE PEOPLE With sheer fury (  = 108),( = 324)

          

        

 

   

 

   

            

8

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

              

        

   



14

    

  

     

                        

       

   

           





          

 





  

                  

         

           

     



                     

4

  

 

19

  

                  

             

                     

            


23

     

     

           

     







          

                 



 

    

      

28

   

          

           

 

 

    

32

               



 



  

  



  

 



  

  



        

 

         

37

            

                   

   

                                 

  

       







42

     

 

 

                   





                   

         

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

  



 

subito 

                        

   

 

5


45

    

 

 

 

    

 

 

 

 

     



 

   

 

 poco a poco rit.

                   50

    

   



      



   

 

56

                 ( = 58)

 

   

 

  

   

 

 

 

 

bells ringing

 into eternity, sempre mezzoforte

           

 

 

  

  



      

                                                           an unceasing alarm, sempre forte

58

   

    5     

              59

       

6



       

    

   

 

 

   

5

 

    5   





  5     

 

 

 

 




60

61

   

  ()

         

 

   

         

62

     



5     

5

     

 





 

      

   

          5



5

       

5      

       

    

         

  

65

  

 



  

 

 

 

        

  



5

  

       



5

 



 

7


THE VOICE OF THE MASSES III: OBSERVING AND PLOTTING With great intensity and expression ( = 94) (tune is from the hymn "Bringing in the Sheaves")

 

       

      



 

    

           

       

6

A bit slower ( = 78)

         

      

       

 

       

9

 

  

        

                         



()

10

                        ()

8

   

             


11

 

  

 

   

 

                

              

 

12

 

     

       



 

   

           

13

   

                 

       

      

   

   

   

 

                        

 14

 

 

 

 

 

                                     



9


15

 

 

 

 

 

 

                                      

 16

  

 

 

 

 

                                      

17

  

 

 

  

 

                                      

18

 

                 

                                

10


19

   

     





                 

 

                                          

       

21

  

     

7 *

23

 

 

  24

 

7

 

 

 

  

 

 

     

 

 

  

 

 

 

   

7

   

7

 

 

  

 

 

 

 

 

  

  



*

 

7

 

 

 

  

7

 

 

 

 

 

  

 

 

 

 

 

 

25

     

    7

 

 

 

 

7

 

 

 

 

 

 

* The pitches of the two cluster chords in mm. 22 and subsequent septuplet figures in mm. 23-26 are approximations. They should be realized by striking the white notes approximately as notated with both palms (but strictly in time). The highest and lowest notes at the beginning and end of each cluster should be played as written, but the rest of the chords should sound as an aeolian cluster and do not necessarily need to be played exactly as written. 11


    

26

     

    

()

7

7

 

  

 

 

 

 

      

3

  

 

3



                              ()

  

     

 

 

 

3

           



3

                      



           

     

 3

 

 

 

                

     

33





                    

     

   

   

 molto rit.

  

12

    with unexpected intensity

(tune is to the Sov iet National Anthem)

                



    



         

     

    

  

                

                                

              

39

                    

A hair slower until mm. 39

3

29

 

  

   


THE VOICE OF THE MASSES         

    

            

     

With urgency and determination (  = 160)

        

7

     

     

         12

17

                

 

21

    

IV: ASSASSINATION AND INSURRECTION

  

           

           

  

      

     

     

      

           

      

                       

     

     

                                          4

4

                    

       4

4

                                     

       4

4

4

4

         4

4

4

       4

4

4

13


25

29

               

          

 

33

4

 

   

 

     

 

42

 14

  

      

  

  

37

4

 

  

    

       4

 

 

4

 

   

  

     

  

         

            

 

       

 

     

  

   

    

 

       

       

     

         

 

                               



     

 

 

 

                     

 

                                                     





 


            

           

A disingenous dolce ( = 70) 53

  

58

   

       

62

           



       

           

   

   

 

something more sincere

          

                            

...something something, Petrushka ( = 120)

                                                              



  

   

  

           

     

accel. e cresc. poco a poco

Tempo primo (  = 160)



                                               

67

       

              



  

rit.

                 

                 

         



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

    



                                       

           

  

 

 

 



         

 



 

 

 

 



47

      

        



  

  

     

     

     

 

 

 

          

                    



         

            

15


     

74

     

       

      

            

     

     

      

      

                                                                       

79

85

     

       90

         

16

()

    

4 2

3 1*

             



                    

as percussive as possible *thumb shares top two notes of l.h, and bottom two notes of r.h., sempre

          

5 4 1* 2

            

                                                           

    

    

      

            

    

             

   

    

     

    

    

   

             




       

95

     



      

101

    

                      

          



         

           

   

                                                                          

        *                                       non rit.                                                ()  * For comedic effect, pretend as though the piece is over at mm. 110,    but play the final chord at mm. 114 in time.                             

106

    

114

 

using forearms, smash white and black keys indiscriminately (but approximately as notated)



     

17

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The Voice of The Masses (perusal score)  

The Voice of The Masses (perusal score)  

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