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Aphasia
suite for piano

Alexander Kolassa (2013/14)

Though split—superficially—into movements, the suite is intended to be
played through, from start to finish. The somewhat unusual numbering
system (1, 1.2, 1.3 etc.) reflects, perhaps, my inability ever to find my way as
far as a second movement, instead becoming distracted and developing
inwardly rather than outwardly. This too accounts, in a curious way, for the
tongue in cheek and slightly esoteric tempo markings. This is not to say, that
they should not be taken seriously though, and they ought meaningfully to
colour any future performance. In this sense, the collection should be
viewed as something of an anti-suite.

N.B. in the fughetta, accidentals are only active on the note that they
precede, any subsequent notes are always natural. The only exception to
this rule are notes that fall within slurred groups, in which case the
accidental remains active as typically it does within a bar.

1.1
discontent; at a (quickish) walking pace

    

  



 

f

5

         
    


     

  






pp

f

 




Alexander Kolassa (2013)

  






            
 


mp


             
   
 





           



 

5



5



  


 


 





3
  
 
  

     


3



8





ff




5

  

p



    
 


     

          
  
5






      
5



    



12



   


  

mf


 



      
5

mf




 
     
  

 
 


p

 

5

3




 







 
ff



  



   


    



 


 

 




mp






 
3




   



       


  



f

        
 



  





 
3

2



    

16



  



 

20








           

 


p

    
 








 



mp




 






  







          

        
 


 

    
  

 




p

        
6

f





           

           





5

p






 


 
mf


  

 


   
  
  

    


        

 


 


 




          




          



      

      

  
 
  

        


25

pp

ff

5

 

23

 

   

  




      
  


5


 

   





f

   

      
 


   

mp


   














3

1.2

barely containing a conflicted joy; faster, erratic
28

 







mf


  
       


      



   



31





   



 

     


  

   
 



   

   

 













 
  
  
   


f





  





3



   5  
 

    






    


     



p


mf





 
 

 
     



3

  
     

         
  
    
 

34

37






   
 



     

p



mp






3
  
         
     






  

      


mf

    













  


    




 


    
 
 
    
 
f



   
   

 


         

mf

   
   

4 40



        


 


43





 

  

ff

   

 

mf




       

 




  



    

           
     












  




 
 
 









        







  


          
   
 



 
          




   
 


5

pp


 

f




      
     






  



 

             


5





46



49







       
5

pp

  



     



     

52

 




 

    





 


 
 
mp
  





 

  
    
    
   


5

3



   


 


3

   
 

f



           
 



3



 

 


 





 
 
 


 
 

  

mp

   


mf






5

1.3

sad though happy, but mostly sad (with some happy)... and slow


  

55





p

 



     







 

63


 





pp




   

      




     

3

mp

3
     







       


pp




 

   


f

(R.H.)
 3

      
 
p
p

ff

p

 





 
   


  


 




   


 





 















 
 



 






f





  




3

3

 

 
 

  

  


 
  





3



     

3


 









          
 



 

   






  







    



3

66







ff


  

3

3


59

    




 


  
    


  

6


 

 

68
















   
  
 





   


  
  


f





 





 




 












   


 

 
  




    







1.3.2

embarassed, nervous and slow
70

  
3

 



  



 

pp

    
3

ff





 

  


 

    



3

  

 




 








f

 








sost. ped.

1.3 (con't) - Fughetta
mf

l'istesso tempo, disconnected
74







mp



 





sost. ped. (throughout)

  











 

   

 



         








 
 
   


3


 


mp

 

sfz

 

mp

pp



   


p

         
 
   




   3



         


3
mf






   

 



mf



molto rit.

3


 
     



  

 


pp 
      
    







p


 

  

       






    
 


pp

  
   
3



    


 

pp

 

1.4
 



Raise hands...



 

TACET


...once maximum discomfort has
been achieved, lower hands, sigh,
and...



1.5
with menace and messianic ecstasy ( c. q=115 )
75










f


  
       

    

 

          

  
      
        

   

     

77

  



 



 



    

 

 




 
   





       





 


    



ff

80



p




  

 




 
 
    



   







   
 




 

7


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