Coen SCHENK - Koraal & Boogie, for piano solo

Page 1



COEN SCHENK

Koraal & Boogie 2008 piano solo

COEN SCHENK 2019


Copyright Š 2008 by Coen Schenk, Den Haag, The Netherlands Uitgegeven door Coen Schenk, Den Haag 2019 / Published by Coen Schenk, The Hague 2019 Alle rechten voorbehouden. Niets uit deze uitgave mag worden verveelvoudigd, opgeslagen of openbaar worden gemaakt zonder voorafgaande schriftelijke toestemming van de uitgever. All rights reserved. This book may not be reproduced in whole or in part, in any form without written permission from the publisher. Foto’s componist / Pictures composer: Peter de Wolff Voor verdere informatie kunt u contact opnemen: publications@coenschenk.nl For further information, please contact: publications@coenschenk.nl Deze publicatie is te bestellen via: www.coenschenk.nl This publication can be ordered at: www.coenschenk.nl


Voorwoord Koraal is gecomponeerd als basismateriaal voor het ensemblestuk Deep Throat Choral. Het bestaat uit zes zinnen die allen met een cadens (en fermate) afsluiten. Het stuk doorloopt verschillende toonsoorten. Het eindigt met een uitgesmeerde cadens wat het stuk Deus ex machina – een goddelijk ingrijpen (met knipoog) – terugvoert naar de begintoonsoort. Boogie is gecomponeerd ter gelegenheid van het afscheid van Roderik de Man als docent aan het Koninklijk Conservatorium. Het is gecomponeerd vanuit een kort, snel herhalend baspatroon (een boogiewoogie bas), wat over de lengte van het stuk steeds verder ingekort raakt. In het coda keert het volledige patroon terug, nu uitgestrooid over de gehele omvang van het toetsenbord. C.S.

Preface

(English)

Choral was composed as raw material for the ensemble piece Deep Throat Choral. It is based on six sentences all with a cadence (including fermata) at the end. The piece runs through different keys and ends with a slow cadence, which, like a Deus ex machina – a tongue-in-cheek divine interference – leads the piece back to the initial key. Boogie was composed for the retirement of Roderik de Man as teacher at the Royal Conservatoire in The Hague. It is composed of a short, fast-repeating bass figure (a boogie-woogie bass), which shortens during the composition. The complete figure reappears in the coda, but this time scattered over the entire keyboard. C.S. (Transl. Sören Johnson)


6


7

Koraal & Boogie piano solo

Koraal      

q = 72

         

f e ben articolato

   

 

   

              

  

meno f f

     

   

                   

    

5

sub. f

   

9

  

   

© Coen Schenk, Den Haag 2008 www.coenschenk.nl

mf

       

        

                               

                          

    

    

 

 

poco a poco dim.

    p

 

     

più f mf

  

 

Coen SCHENK 2008

  

     

 

 


8

Voor Roderik de Man

Boogie Fast, wild and with swing q = 116

      

                

p

   

    

quasi P una corda

 



  

5

     

    

 

  

  

sf

  

     

 



 

 



 

  

  

  

  

  



 

 

f

    

  

  

  

  



p

 

 

 

  



  

      

 

 

 

   

  

 

 



 

  

  



 

 



 

  

 



 

f

 

 

 

 

 

 

  

        

sim.



 

        

  

p  

  

 

  

tre corde

sf

 



f

      

sf

  

        

  

 

    

 

      

       

p

 

        

sim.

   

f

12

  

una corda

tre corde

  

sf

 

  

 

9

 

      

       

 

  

 



  

 

  

 


      

KORAAL & BOOGIE

  

15

p

 

    

 



f

  

        

18

   

  

sf

26

 

sim.

 

  

 

 

   



f

 

 

 

 

non legato p sempre

p

 

 

 

  

 

sf

 

 

 

   

  

              

legato mp

  

 

   

 

 

 

 

 

     

 

 

        

 

   

  



 

  

         

 

  

p

 

  

   

 

     

22

   

 

     

 

 

 

9



 



 

                                   

    

    

                                       

30

   

subito f

     

 sub. p

                 subito f   Come una grancassa: sf


10

KORAAL & BOOGIE

  

34

              mp                                              

                   

39

  

43

  

      mp         

   

47

    

               

51

  

    

sub. f

  

   

        

 sub. p

                                        sub. f  sf               f

        mp                               p

  

f

 

   

                       

                                          


     

KORAAL & BOOGIE

  

56

sub. f

       

11

       

                                          

                               

60

 

     mp sub. p                    sf 68     64

f

pp

    

sub. f

        

       

       

    sub. mp    

sub. p

                                  f  sf

                                   

                                                      

73

    decresc.

                              

       


12

KORAAL & BOOGIE

       

78

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[non legato]

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     

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 


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Biografische Notities Componist Coen Schenk (1981) begon op negen egen jarige leeftijd met het spelen van een instrument en op dertien jarige leeftijd met componeren. Na eerst een opleiding gevolgd te hebben tot binnenhuisadviseur, studeerde hij achtereenvolgens com compositie aan het Koninklijk Conservatorium in Den Haag (Bachelor) en de Academy of Music an and Drama in Gotenburg, Zweden (Master). Na terugkeer uit Zweden in 2011 is Schenk begonnen met het uitgeven van muziek in eigen beheer. Schenkss werk omvat composities voor orkest, ensemble, kamermuziek en piano solo. Zijn stukken zijn uitgevoerd op festivals en concerten in verscheidene Europese landen, als mede in China en de Verenigde Staten.

Biographical Note Notes

(English)

Dutch composer Coen Schenk (1981) started playing an instrument at the age of nine, and began composing at the age of thirteen. After first completing an education in interior design, he turned to composition and studied at the Royal Conservatoire in The Hague (Bachelor) and the Aca Academy demy of Music and Drama in Gothenburg, Sweden (Master). After moving back to the Netherlands in 2011, Schenk started to publish his music independently. To date, Schenk's work includes compositions for orchestra, large ensemble, chamber music and piano solo. His pieces have been performed at festivals and concerts throughout Europe, China and the United States.


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