Keane Southard
Piano Sonata No. 2
(2006-08) (Duration: c. 20 mins.)
Program notes: I began composing my Piano Sonata No. 2 in February of 2006. At that time I was going through a difficult time that turned out to be a period of great inspiration and productivity for me compositionally. I wrote the beginning material of the first movement and decided to create a larger-scale sonata in an overall dissonant and freelychromatic language; something I had never attempted before. By the fall of 2006, I had completed the fourth (then planned as the third of three movements) but set aside the piece to work on several other pressing projects. I came back to the work in 2008 determined to finish it. The second movement was completed in the early summer of 2008, the third at the end of the same summer, and the first at the end of September 2008. Keane Southard 2008
Performance instructions: 1. Unless otherwise indicated, the damper pedal should be used discreetly to allow for maximum clarity. 2. Movement III is written on three staves, where the top staff always uses a treble clef with a small “eight” (8) on top of it, which designates that all music written on that staff should be played an octave higher than notated. 3. Clusters are notated by square black noteheads that blend together to form a black rectangle. These clusters should be chromatic and designate only the general area that the cluster should be played.
4. When “x” noteheads are used, the pitches to be played should be played at random by the performer, but should always follow the contour of the written line (rising or falling). When “x” noteheads chords are written, not only are the pitches to be random but also the number of pitches in each chord. 5. In Movement II, extended series of repeated chords are notated with first the chord to be played, and then only with a stem without noteheads for each subsequent repetition of the chord. Numbers are also placed over each repetition of the chord to help the performer keep their place in the music. 6. In Movement II, sometimes a time signature of “zero” (0) is used, which simply means that there is no time signature until another time signature appears. 7. When there is no time signature, accidentals apply to that note only and no accidental indicates a natural pitch. Where there is a time signature, accidentals hold throughout the measure.
Keane Southard/Spindrift Pages Email: keane.southard@hotmail.com www.keanesouthard.instantencore.com
e=80
ff
I 3
3
3
3
Keane Southard
3
7 3 fff 10 3 3 ff 3 3 13 3 3 ©2008
2
r.h. 3 3 15 r.h. fff l.h. unspecified notes as fast as possible cresc. l.h. poco rall.
18
q=60
p
3
e=e
cresc.
f
e=e
3
legato ed espressivo
3
3
3 e=e
pp
3
p
22
3
3
cresc.
3
mp f
3 f
e=e e=e 25 e=e 3 3 p f
3 q.=40
29
molto accel.
p
cresc.
32
molto rit.
q.=112
e=100 accel. 35 ff
unspecified pitches
(q.=96)
and number of similtaneous notes
e=80 40 3 3 3 fff ff
4
46
3
49 pp sub.
sf sf sf
sf sf sf
pp sub.
53
sf
pp sub.
sf
56 3
3
f
sf
3
sf
sf
sf
5
58
pp sub.
sf
pp sub.
sf sf
61
sf
sf
sf
pp sub.
ff
64
66
mf
68
sf
sf pp
pp
sf
sf
pp
sf
pp
sf
pp
sf
sf
sf
pp
sf
6
71
69
mf
rit.
ff mp
(x=120)
mf
cresc.
e=144 75 3
3
e=120 accel. 3 3
p
3
3
3
3
ff
78
f
ff
82
cresc.
3
mp
p
pp
f
3
3 mp
legato ed espressivo
3
3
f
f
cresc.
94
unspecified pitches and number of similtaneous notes
3 e=e 3 3
e = 126
3 e=e
e=e
7
3
p legato ed espressivo
90
q=60
gl iss
86
(cluster) l.h .
fff
8 97
100
cresc.
3
3
3
e = 76 con rubato
mp
106
legato ed espressivo
3
3
3
109 3
3
3
3
3
3
3
cresc.
3
3
3
accel.
3
ff
103
3
3
3
3
3
3
3
9
e=100 112
3
f
3
3
3
3
3
3
molto accel. q.=62 115
3
3
ff 3
3
3
3
3
3
3
3
119
3
3
3
3
3
124
3
3
3
3
3
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accel.
3
10 q.=100 molto rit.
e = 112 127 fff cresc. (q.=96) e=80 131 unspecified pitches fff and number of similtaneous notes
accel.
e=120 e=80 138 short 3 p
mf
ppp
short
fff sub.
q = 72 3 3 3 142 3 x=x
pp
3
3
3
3
3
3
3
11
e = 60
3 3 3 3
148
accel.
p
cresc.
(e=108)
150 3 3 3 3 3 3 3 3 3 3
q = 60 ff 152
e=80 3
pp 3
cresc.
3
3 ff 156 f
fff sub.
12
e = 48
159 cresc.
161
3
e = 120
ffff (clusters)
rall.
3
3
3
with base of thumb
3
II q = 126
ff
mf
Keane Southard
p
q=144
accel.
3
f
3
3
3
3
3
3
3
3
3
3
q = 126 3 3 3 3 3 3 3 3 f mf ff 3 mp
f
ff
mf
mp
q=144
f
3
3 3 3
14
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
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3
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3
3
3
3 3
3
3
3
3 3
3
3
3
3
3
3
3
3
3
3
ff
3
q = 126 mf ff
p cresc.
f
fff
mp
p ff
fff
ppp poco cresc.
15
16
f
1 2 3 4 5 mf mf (same chord)
1
mp
f
6
7
2 3 4
5 6 7 8 9 10 11 12 13 14 15
p dim. 1
ff
ppp fff
2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
III
rit.
e = 72
7
pppp(tenor voice) *N.B.
ppp
pp
pp
p
ppp
delicate and very soft yet always singing
ppp
q = 50
Keane Southard
p
distant
11
ppp
pppp
ppp
pp
pppp
ppp
*N.B. The steady pulsed accompaniment should always be subordinate to the melody(ies) throughout the movement.
18
3 3
14
3
p
16
3
p
19
3
pp
p
p
pp
ppp
ppp
3 3
p
3
ppp
3
pp
3
3 3 3 3 3
21
3
23
l.h.
l.h.
3
3
l.h.
30 3
3
mp
mp
r.h.
3
3
3
3
3 3
3
3
cresc.
cresc.
3
3
28
3
3
r.h.
3
3
25
r.h.
3
19
3
3
32
20
3
3
34
f
3
r.h. f
l.h.
3
3
3
3
3
cresc.
l.h. r.h.
l.h.
r.h.
l.h. 3
40 3 l.h. 3
3
3
r.h.
r.h.
l.h.
3
3 l.h.
cresc.
37
3
3
r.h.
l.h.
3
3
r.h.
3 3 3
r.h. l.h.
3
42
3
3
46
3
49
ff
cresc.
3
3
sos.
maintain the same dynamic contour as in the first statement of this melody (mm. 3-18)
fff
cresc.
x=e q = 72
48
21
ff
3
ff fff sos.
22
50
51
52
53
54
23
55
24 56
57
58
25
59
60
61
f (Echo)
f (Echo)
26
ffff
ffff
fffff
15-20''
15-20''
sos. una corda
e = 40
ppp
dim.
63
rall.
fffff
pppp
62
IV
q = 112
mf sfz
mf sfz
mf sfz
ff
3
e=e 4
3 ff
8
3
3
3
3
3
Keane Southard
3
mf
sfz mf sfz mf
q=126
p
3
3
3
mf
21 e=e mf f mp
sfz
14 mp
cresc.
28 27
p
p
29
sfz
p
pp sub. f
sfz
f
mf dim. pp
31
e=e 36
mf
e=e
42
f
pp sub.
e=e 44
3
3
r.h.
3
29 q=q. (q.=126)
3
r.h.
pp
47
ff
r.h. l.h. l.h.
mp
mf
r.h. r.h. r.h. l.h. r.h. l.h. l.h.
50
pp
p (echo) 53
f
r.h.
pp r.h.
l.h.
r.h.
l.h.
ff
mf
56
l.h.
r.h.
mf
30 q.=q (q=126)
59
mf
p
f
molto rit. 64
A tempo
p
mp
pp
70
mf cresc.
r.h. 3 l.h.
poco rit. 73
l.h.
3
mf
r.h.3
sfz mf
3
r.h.
77
3
A tempo
mf
3 l.h.
mf sfz
sfz
sfz
f
mf
sfz
mf
sfz
31
x=x
81
mf
pp cresc.
85
89
rall.
93
dim.
q=66
x=x (q=126)
3
3
3
3
dim.
ppp
3 mf
3
98
mp
sfz mf
p
f
32 3
e=e
3 e=q (q=132) 101 sfz mf sfz sfz mf sfz mf
106
mf
e=e
mf
sfz
e=e
3
e=e
3
q=80
ff
e=e
3
pp sub.
3
3
3
e=e
3
e=e
pp sub.
3
3
pp sub.
3
pp sub.
pp sub.
115 pp sub.
sfz
111 ppsub.
3
3
33 q=112
117
f
pp
pp
f
3 q=q 3 3 122 3 3 f pp ff 3 sos. sos. sos. 128 sos.
sos.
q=q
3
3
3
q=q
3
133
q=q fff sos.