Keane Southard
Piano Quintet “New England”
(2011) (Duration: c. 22 min.)
Program Notes The beginning idea for my Piano Quintet “New England” came about in late 2008 or early 2009. It was an idea to write a large-scale three movement piano quintet that is my homage to the region I grew up in, where I lived from the age of one until I graduated from high school. When I was young, it seemed that every weekend my parents would drag us kids around to some new small town in Massachusetts, New Hampshire, or Vermont, which, as kids, we naturally thought was a drag. But going to college in a different area of the country has made me realize how ingrained “New England-ness” is in me, the small towns with a white church and a big steeple, the village green, the history and spirit of the revolution, the transcendentalist writings, protestant hymnody, etc. When I left is also when I really fell in love with the music of Charles Ives, which always strikes such a deep chord with my New England roots. It has now been six years since I have been able to witness a season other than summer in my home states, so I decided that I'd write this work as an homage to those seasons I have missed (and which I think are most distinctive and beautiful when in New England). Each movement is based on a hymn tune that I am particularly fond of and grew up singing in church. The main work on the piece was delayed, because of several other pressing projects, until the fall of 2010 and then was completed in February of 2011. Keane Southard 2011
Performance Instructions 1. A portamento differs from a glissando in that a portamento is a quick slide to the next note at the end of the duration of the note, whereas a glissando is a slide from note to note at a constant velocity. A note followed by a glissando should not be held any longer than any other pitch within the glissando but should be only a starting point for the glissando. 2. Measured tremolos are indicated with a line through the stem of the note to divide the duration of note by half and double the frequency within the duration of the note. Unmeasured tremolos are indicated with three lines through the stem of the note and indicate that the performer should repeat the note as fast as possible within the duration of the note. 3. In general, harmonics are notated by either a diamond
notehead (â—Š) which indicates the pitch where the finger should be placed to produce the harmonic, or by a small circle over the note intended to sound as a harmonic. For natural harmonics, both methods are used depending on context. If several different natural harmonics are used in succession, where to produce the pitch is given by the diamond notehead in order to show the easiest way to transition from harmonic to harmonic. In addition, the note intended to sound is given above the diamond notehead in parenthesis. Otherwise, natural harmonics are indicated with just the pitch to be sounded while the performer chooses how to produce the pitch. All artificial harmonics are designated with the stopped pitch as a regular notehead and the node to be touched a perfect fourth above the note with a diamond notehead. The note produced should be two octaves above the stopped pitch and is NOT notated in the score. 4. Unless otherwise indicated, the damper pedal should be used discreetly to allow for maximum clarity.
I. Autumn
q = 100
Violin I
"In goldenrod fields the first red leaves begin." - Back to School, Robert Gerard Howes
with practice mute
Violin II
Viola
Violoncello
f ma lontano espress. like a folk song
Vln. I
Vc.
Pno.
port.
Vla.
9
Vln. II
q = 100
Piano
Keane Southard
molto rit.
molto rit.
p
2
Vln. I
q = 60
17
Vla.
Vc.
Vln. I
Vln. II
Vla.
without practice mute
Pno.
n
n
mp
mp
mf
mf
p
sf
p
f
p
f
sf
sf
mp
p
pp
pp
pp
sf
p
f
mp
f Vc.
mf
mp
p
p
26
p
q = 60
Pno.
n
mp
mp
p
Vln. II
mp
pp
p
3
35
Vln. I
sf
Vc.
sf
Pno.
Vln. I
p
Vln. II
sf
Vla.
pp
pp
mf
mp
Pno.
f
sf
sf
n
mf
mf
mf
pp
sf
pp
p
mp
f
mf
n
mf
p
f
sf
sf
n
f
sf
sf
Vc.
mf
43
n
f
mf
mf
sf
f
Vla.
mf
sf
Vln. II
accel.
3
p
n
f
n
f
f
p
cresc. poco a poco
p 3
n
accel. 3 p pp f
4
Vln. I
50
Vln. II
Vla.
3
p
3
cresc. poco a poco 3
cresc. poco a poco
Vc.
Pno.
Vln. I
3
3
3
3
Pno.
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
3
3
3
3
Vc.
3
3
cresc. poco a poco
55
Vla.
3
cresc. poco a poco
Vln. II
p
3
3
3
3
3
3
3
3
3
3
3
3
3
3
5
Vln. I
60
Vln. I
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
ff
Vla.
Pno.
3
ff
Vln. II
Vc.
q = 144
3
3
3
3
3
3
3
3
3
ff 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
ff 3
3
3
3
3
3
3
3
Vla.
3
3
3
3
65
3
3
q = 144 3
3
3
3
3
n
3
ff
3
3
3
3
3
3
3
n
n
n
3
ff
ff
n
ff
3
n
ff
n
ff
n
ff
3
ff
ff
3
Vc.
3
3
Vln. II
3
3
3
3
3
3
3
Pno.
ff
6
Vln. I
70
ff
n
Vln. II
ff
Vla.
Vc.
ff
n
ff
n
3
3
3
3
3
Vln. I
75
Vln. II
Vla.
Vc.
3
n
ff
n
3
ff
3
3
3
fff
fff
3
3
3
3
3
3
3
3
3
n
3
3
ff
3
3
3
ff
n
3
n
ff
n
fff
ff
n
ff
n
3
ff
n
fff
ff
Pno.
n
ff
ff
fff
ff
n
n
n
3
3
3
3
Pno.
Vln. I
80
Vln. II
ff
ff Vc.
Pno.
Vln. I
3
3
ff
n
ff
3
7
3
3
3
3
3
3
3
3
3
3
85
fff
Vln. II
Vla.
fff
fff
fff
Vc.
3
n
ff
ff
3
n
ff
n
ff
Vla.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Pno.
fff
8
Vln. I
90
Vln. II
ffff
ffff
Vla.
ffff
Vc.
Pno.
Vln. I
3
95
3
3
h. = 60
(q = 180)
3
f, like a folk song
h. = 60 (q = 180)
3
3
f ffff 3
ffff
Vla.
Pno.
Vln. II
Vc.
9
Vln. I
101
Vln. II
Vla.
Pno.
Vln. I
mf
Vln. II
Vla.
mf
Vc.
Pno.
mf
n
3
107
3
Vc.
3
3
10
Vln. I
114
Vln. II
Vla.
mf
Vc.
3
Pno.
Vln. I
3
Pno.
3
3
mp
cresc.
mp
cresc.
Vla.
Vc.
f
120
Vln. II
3
3
11
Vln. I
126
Vln. II
Vla.
Pno.
Vln. I
3
f
f
ff
n
ff
Pno.
3
f
Vc.
133
Vla.
Vln. II
f
Vc.
n
12
Vln. I
140
Vla.
Vln. I
Vln. II
Vla.
Vc.
Pno.
ff
ff
Pno.
Vln. II
Vc.
ff
ff
147
rit.
mp sub.
mp sub.
mp sub.
mp sub.
rit.
13 molto rit.
Vln. I
Vln. II
Pno.
3
Vc.
3
3
3
3
mf
3
q = 100
3
mp
molto rit.
mp
pp
3
Pno.
3
pp
pp
3
Vla.
mf
mf
3
Vln. II
q = 60
160
Vln. I
3
mf
3
3
Vla.
Vc.
q = 100
154
pp
q = 60
mp
3 3 3 mf pp
14
Vln. I
166
Vln. II
Vla.
molto rit.
Pno.
3
p
Vln. I
Pno.
pp
3
pp
ppp
pp
molto rit.
ppp
h. = 44
Vla.
pp
p
3
Vln. II
Vc.
173
pp
p
Vc.
p
mf espress. like a folk song
h. = 44
mp
15
Vln. I
179
Vln. II
Vla.
Vc.
Pno.
Vln. I
185
Vla.
Pno.
Vln. II
Vc.
poco rit.
A tempo
rit.
poco rit. rit. A tempo
16 h. = 60
192
Vln. I
Vln. II
f sub.
Vc.
Pno.
Vln. I
mp
ff
pizz.
mp
Vla.
Pno.
201
Vln. II
Vc.
p
ff
f sub.
ff
h. = 60
f sub.
n
p
ff
f sub.
Vla.
sf
mf
mp
pizz.
mp
sf
sf
sf
f
f
17
Vln. I
208
mp
Vla.
mf
Vc.
Pno.
Vln. I
Pno.
p
mf
mp
arco
p
216
Vla.
arco
Vln. II
Vc.
p
f
mf
f
mp
Vln. II
mp
mp
mp
mp
mf
mf
mf
mf
18
Vln. I
224
p
mp
Vln. II
mp
Vla.
Vc.
mp
p
p
p
Vln. I
233
Vla.
Vc.
Pno.
Vln. II
p
p
mp
mp
mp
mf
sf
sf
f
mp
mp
mp
Pno.
p
p
mf
19
Vln. I
242
p
mp
Vln. II
p
p
Vc.
Vc.
n
mp
n
mp
n
mp
pp
mf
p
n
mf
p
mf
p
n
n
mf
n
mp
p
p
cresc.
p
cresc.
p
cresc.
pp
cresc.
rit.
molto stringendo
molto stringendo
Pno.
p
Vla.
n
Vln. II
251
Vln. I
p
Pno.
mp
Vla.
rit.
20
h. = 60
260
Vln. I
Vln. II
Vla.
Vc.
ff
ff
h. = 60
Vln. I
Vln. II
Vla.
Vc.
Pno.
269
ff
ff
Pno.
ff
molto rit.
fff
fff
fff
fff
fff
(q=50)
n
n
n
n
pp
p
rit. molto
(q=50)
21
Vln. I
Vln. II
Vla.
Vc.
278
q. = 60
Vln. II
pp
284
Sul G
Vc.
p
Vla.
Pno.
Vln. I
q. = 60
Pno.
p
22
290
Vln. I
Vln. II
(Sul G)
mp
mp
Vla.
Vc.
Pno.
Vln. I
Vln. II
Vla.
Vc.
Pno.
296
mp
mp
mf
23
302
Vln. I
(Sul G)
mf
Vln. II
Vla.
Vc.
mf
Vln. I
Vln. II
Vla.
Vc.
f
f
f
f
Pno.
308
mf
mf
Pno.
f
24
312
Vln. I
Vln. II
Vla.
Vc.
(Sul G)
Pno.
Vln. I
Vln. II
Vla.
Vc.
Pno.
315
ff
ff
ff
ff
ff
25
Vln. I
Vln. II
Vla.
Vc.
Pno.
Vln. I
Vln. II
Vla.
Vc.
325
Pno.
cresc. poco a poco
cresc. poco a poco
cresc. poco a poco
cresc. poco a poco
319
cresc. poco a poco
26 Vln. I
329
Vln. II
Vla.
Vc.
Pno.
Vln. I
Vln. II
Vla.
Vc.
332
rit.
q. = q
q. = q
4
4
Pno.
8
4
fff
fff 3
rit.
q = 96
Vln. I
Vln. II
Vla.
Vc.
335
27
Joyous, Exulting
3
3
fff
fff
Vln. I
Vln. II
Vla.
Vc.
Pno.
fff bring out melody
340
3
Sul G
3
3
q = 96 Joyous, Exulting
Pno.
rt. po
. port
sim.
3
3
28
(Sul G)
Vln. I
Vln. II
Vla.
Pno.
q = 60
Vln. I
rit.
p
Vln. II
p
Vla.
p
Vc.
350
n
n
p
(q-40)
e = 72
ppp
ppp
n
pppp
3
n
n
ppp
q = 60
p
p
rit.
rit.
Pno.
3
p
3
3
3
Vc.
(q-40)
rit.
345
pppp
n
e = 72
n
II. Winter
q = 52
mf warm espressivo
Violin II
mf warm espressivo
Viola
mf warm espressivo
Violoncello
Piano
Vln. I
6
ppp
ppp
ppp
Pno.
f
mf
ppp
f
f
A tempo
ppp
ppp
mf
poco movimiento
f
mf
A tempo
ppp
mf
ppp
ppp
Vla.
poco movimiento
Vln. II
Vc.
ppp
mf warm espressivo
q = 52
Keane Southard
Violin I
" In these silences, in this great wood, none but the wind walks and I. All about us, separate from sound, the world speaks unspoken poetry with black consonants and white vowels." - Winter Walk, Robert Gerard Howes
30
Vln. I
12
poco movimiento
A tempo
17
ppp
poco rit.
p
mf
pp
3
mf
mf
f
f
mp f
f
mp
A tempo
A tempo
poco rit.
Pno.
mp
p
p
p
pp
pp
pp
A tempo
p delicate
pp
mp
mp
mp
pp
Vc.
Vla.
mf
Vln. II
poco movimiento
Vln. I
ppp
Pno.
mp
ppp
Vc.
ppp
Vla.
ppp
Vln. II
mp
31
Vln. I
24
Vln. II
Vla.
Vc.
Pno.
Vln. I
Vc.
Pno.
mp delicate
Vla.
29
Vln. II
32
Vln. I
34
mf
Vln. II
mf
Vla.
mf
Pno.
Vln. I
Vln. II
Vla.
Vc.
Pno.
mf
39
mf
Vc.
poco accel.
poco accel.
33 q = 69
Vln. I
q = 52
rit.
ff
Pno.
ff
q= 69 rit. ff
Vc.
ff Vla.
ff
Vln. II
52
mp
mp
mp
Vla.
Pno.
Vc.
mp
Vln. II
q = 52
Vln. I
mp
45
34
Vln. I
57
f
Vln. II
f
Vla.
f
Vc.
f
ff
ff
ff
ff
Vln. I
f
Pno.
5
trem. at tip
Vln. II
6
5 5
6
5
6
6 6 6 6 6
pppp
Vla.
5
ff
trem. at tip 5 61 5 pppp 5
(begin arpeggi at the same time)
trem. at tip
pppp
Vc.
Pno.
trem. at tip
pppp 3 3
3
3
3
mf
3 3 3
35
63
Vln. I
5 5 5
Vln. II
Vla.
Vc.
6
6
Pno.
6 6
3
5
5
5
5
6
3 3 3
5 6
6
6
3 3
3
3
3 5 65
Vln. I
Vln. II
Vla.
Vc.
6
3
5
3 3
3
3 3
3
3
3
3 3 3
3
3
3
5
Pno.
5
36
molto rit.
68
Vln. I
5
ff
Vln. II
3
ff
Vla.
molto rit.
Pno.
Vln. I
71
ff
e = 52
with practice
mute
10"
mute
with practice
Vln. II
10"
5
3
3
ff
ff Vc.
3
7
mp
3
5
mp
mp
mp
senza vibrato
mf ma lontano
n
senza vibrato
mf ma lontano
n
Vla.
with practice senza vibrato mute
10"
Vc.
with practice
10"
Pno.
mute
e = 52
fff
10"
mf ma lontano senza vibrato
mf ma lontano
n
n
III. Spring "Like a bombful of rainbows exploding in a dark sky this is spring." -Spring Flower Show, Robert Gerard Howes
Violin I
Violin II
Viola
Violoncello
ff
3
Vln. I
Vln. II
Vla.
Vc.
Pno.
ff
ff
q = 104
Piano
q = 104
Keane Southard
ff
ff
38
5
Vln. I
Vln. II
Vla.
Vc.
Pno.
Vln. I
Vla.
Pno.
7
Vln. II
Vc.
fff
molto rit.
9
Vln. I
Vln. II
Vla.
39
A tempo but Swung
pizz.
fff
pizz.
sfz
pizz. sfz
fff
Vc.
pizz.
sfz
fff
A tempo but Swung iq = qK e
molto rit.
Pno.
Vln. I
Vln. II
Vla.
Vc.
Pno.
3
12
sfz
fff
p
mf
arco 3 3 pizz.
arco
mp
3 p mp
f
iq = qK e
3
port.
f
sfz p
f
mp
40
16
Vln. I
port.
mp
Vln. II
Vla.
Vc.
Vln. I
Vc.
Pno.
f
port.
mp
3 3 3
3 mf f
port.
20
Vla.
f
Vln. II
I II
Pno.
f
mf
mp
pizz.
sfz
3
p
3
arco simile (port.)
mf
sfz
mf
mf
mp
f
24
Vln. I
Vln. II
Vla.
Vc.
p
f
f
28
gliss.
3
f
mp
mf
ff arco
f
Pno.
f
port
.
ff
ff
simile
port
. port
port
.
.
ff
ff
arco Vc.
3
arco Vla.
p
p 3
3
f Vln. II
fp
Pno.
Vln. I
41
simile
simile
simile
42 Vln. I
31
Vln. II
Vla.
Vc.
Vla.
p
con sord., legato
35
Vln. II
Pno.
A tempo, Straight 8ths
Vc.
Pno.
Vln. I
p
rit.
mp
rit.
pp
pp
mf espress.
A tempo, Straight 8ths
mp
43
Vln. I
40
Vln. II
Vla.
Vc.
Vc.
f
mf
(q=54)
rit.
dim. poco a poco
Pno.
Vla.
Vln. II
45
Vln. I
Pno.
(q=54)
rit.
dim. poco a poco
44
q = 128
pp
Vln. II
Vla.
pp
pp
Vc.
Pno.
Vln. I
Vln. II
Vla.
Vc.
Pno.
pp
56
mf
espress.
p
3
3 p 3
3
q = 128
n
con sord.
pp
p
I II
q = 92
Vln. I
51
q = 92
3 3 3 3 3 3 3 3 3 3 3 3
Vln. I
59 6
Vln. II
Vla.
Vc.
Vln. II
Vla.
Vc.
p
mf
3 3 3 3 3
3
3
3
3
3
3
3
Pno.
p
61
Vln. I
mf
6
Pno.
45
3
3
3
3
46
Vln. I
Vln. II
Vla.
Vc.
63
mf
3
3
Vla.
Vc.
Pno.
p
3
3
3
mf
3
65
Vln. II
3
Vln. I
mf
3
Pno.
p
f
mf
3 3 3 3 3 3 3 3
3
3
mf
3
3
68
Vln. I
Vla.
Vc.
Vln. II
mf
3
Vln. I
70
7
mf
Vln. II
Vla.
rit.
3
mp
mf
mf
7 mf
Pno.
n
mp
mf
f
q = 88
mp
con sord.
(q=54)
f
Vc.
f
3
3 3
mp
3
3 3 Pno.
mp
n
n
mp
n
rit. q = 88 3 3 3 3 (q=54) 3 mf
47
mp
3
3
3
p
una corda
48
Vln. I
75
Vc.
p
senza sord.
pp
col legno tratto
Vln. II
Vla.
Vc.
pp
mp
pp
mp
f
pp
mp
mf
pp
f
mf
pp
f
mf
f
pp
p
p
p
p
p
f
pp
f
pp
f
pp
mf
f
f
Pno.
pp
mp
Vln. I
f
p
Pno.
81
p
col legno tratto
senza sord.
f
Vla.
col legno tratto
p
Vln. II
senza sord.
p
p
p
Vln. I
87
Vln. II
f
Vla.
Vc.
mf
pp
f
pp
f
pp
mf
normal
(q=72)
rit.
f
n
mf
Pno.
normal
n
mf
p
Vln. I
92
Vln. II
Vla.
Vc.
ff
tre corde
ff
normal
(q=72)
49
n
rit.
ff
ff
q = 104
q = 104
ff
ff
Pno.
50
Vln. I
Vla.
Pno.
94
Vln. II
Vc.
96
Vln. I
Vln. II
Vc.
Pno.
molto rit.
fff
Vla.
fff
fff
fff
molto rit.
51
Vln. I
99
A tempo, Straight 8ths gl i ss .
sf
Vln. II
Vla.
Vc.
102
Vln. II
glis
3
5
Vc.
Pno.
3
sf
3
3
3
3
3
rt. po
ff
f
3
3
f
A tempo, Straight 8ths
3
f
sf
3
3
sf
arco
3
sf
3
f
sffz
sf
sf
sf
fff
sf
3
sf
gli ss.
. iss
sf
f
ss.
gl
pizz.
5
s.
sf
g li
sf
Vla.
Pno.
Vln. I
3
3
3
gliss.
pizz.
gliss.
sf
3
f 3
3
3
3
52
Vln. I
105
glis s.
sf
p
Vln. II
gliss.
Vla.
3
f
sf arco
Pno.
Vln. I
ff
f
108
pizz.
3
sf
3
sf
3
3
3
ff
3
sf
gliss.
gliss.
sf
3
ff
f
sf
7
sf
f
3
3
3
ff
5
3
3
3
3
3
3
sf
sf
sf
pizz.
gliss.
arco
6
ff
3
6
p
3
3 3 3 3
3
3
f
Vla.
Pno.
3
6
6
Vln. II
Vc.
sf
sf
sf
3
sf
gliss .
sf
3
3
3
p
sf
Vc.
3
arco
110
Vln. I
3
Vla.
Vc.
3
3
gliss.
112
Vln. I
Vla.
7
3
molto rit.
Pno.
3
3
sf
5
ff
ff
ff
molto rit.
ff
sff
3
6
3
3
f
sf
Vc.
6 3
Vln. II
sf
3
sf
3
sf
Pno.
3
3
arco
3
sf
sf
sf
Vln. II
53
3
3
ff
54
114
Vln. I
q = 56
5
fff ma dolce
Vla.
fff ma dolce
Vc.
Pno.
fff
2"-3"
mf
3
2"-3"
mf
fff ma dolce
5
fff ma dolce
q = 46
mf
Vln. II
2"-3"
5
7
2"-3"
pp
ppp
ppp
pp
pp
2"-3"
q = 46
pp
pppp
ppp
ppp
pp
mf
q = 56