MUSIC FOR PIANO
Piano music with an exciting fusion of musical styles
Promethean Editions has been publishing piano sheet music for more than 25 years. Our collection includes, virtuosic works for solo piano, chamber works featuring piano for the professional musician and smaller works composed especially for younger players.
One of the defining qualities of our music is the exciting fusion of different musical styles that can be heard in the works of its published composers. Looking outward from the Western classical tradition, these composers broaden their stylistic horizons by partnering the traditional with the modern – or ancient – to create challenging, exciting contemporary classical works.
The fusion of musical styles
Solo piano
Gareth Farr’s music reflects his personality – bold, brash, or delicate and sensuous, but inevitably, immediately engaging. Rhythmic elements of his compositions can be linked to the complex and exciting rhythms of Rarotongan log drum ensembles, Balinese gamelan and other percussion music of the Pacific Rim, and these influences spill over into his works for piano. Balinese Pieces (PE128) is a set of three piano works influenced by gamelan music of Indonesia. This collection includes Sepuluh Jari (“ten fingers”), Tentang Cara Gamelan (“on the technique of gamelan”), and Jangan Lupa (“don’t forget”). Farr perfectly captures the exciting rhythms and beautiful sonorities of gamelan music and combines it with sounds and textures reminiscent of French impressionism. His writing for piano in these pieces is virtuosic, with fast melodic passages and complex rhythms.
The Horizon from Owhiro Bay (PE091) is Farr’s musical depiction of the ‘moody depths’ visible from the composer’s home. Farr writes: “This prelude is a musical representation of the view I see at twilight from my studio on the south coast of Wellington, New Zealand — the moody dark green depths of Cook Strait, the inky blue sky, and the endless unbroken horizon dividing the two.” The work’s simple arching structure begins and ends with a repeated two-note motif which serves as a literal horizon as the pianist performs surrounding ascending and descending figures.
An exciting and virtuosic work for solo piano, Farr’s Mouse Hole (PE100) requires fast finger work and dares the pianist to keep pace with the scurrying rodent evoked by the speedy streams of semiquavers that define the work. This work perfectly illuminates Farr’s penchant for rhythmic propulsion that typifies much of his musical output.
A great test for advanced pianists, John Psathas’s Jettatura (PE029) is an uncomplicated moto perpetuo, and another example of Psathas’s gift for creating high-energy, compelling works. Requiring heavy and impassioned fingering, Jettatura is shot through with defiance and aggression. The left hand hammers a stream of ostinatos while the right hand flies almost incautiously over the keys, stretching to the piano’s upper register.
Excerpt from Jettatura, p.1 (PE029)
By contrast, Psathas’s short and ebullient Sleeper (PE090) is built using minimalist techniques, the composer’s energy expressed in lyrical, child-like melodic gestures that evoke a sense of exploration and discovery. The opening measures contain a two-note ostinato pattern that forms a static harmonic base from which the work unfolds. A sense of momentum and subsequent departure emerges from the ‘voice-like’ notes, which gracefully evolve into scalic melodies, steering the dynamic and registral development of the piece, and generating the work’s pulse.
Vincent Ho’s Supervillain Études (PE214, PE215) fixate on six supervillains from comic book culture. Ho found that each of these villains are extreme expressions of psychological disorders and decided to dive into their psychological profiles collaborating with choreographers to see their takes on animating each of the profiles. The Supervillain Études take gestural cues from choreography while maintaining the profiles and personalities of the aforementioned supervillains, forming a compellingly moody, exciting, and villainous set of works.
Nostalgia (PE161) was originally intended as an encore piece for his percussion concerto The Shaman. Originally written for vibraphone, the evocative and lyrical lines of the original work also lend themselves to the sustained resonance of the piano. Ho expresses a sense of nostalgia throughout the work with simple melodic lines and ebbing accompaniment, making for a beautiful and thoughtful point within recital programmes.
Also on the theme of memory, Hatzis’ Through A Glass Darkly (PE102) is a dramatic and intricate work for solo piano that plays with the idea of ageing and failing memory. Wrong harmonic turns at the ends of phrases, memory slips, starting a new phrase in the wrong key and then adjusting afterwards; all of these harmonic dysfunctions intensify as the work progresses.
PE128 Р1 Π= 72 Sepuluh Jari 4 4 W ppp W K K K K ev` 4 4 W W pp ev` 2 W W K K K W {ev`} W W M {ev`} 3 mp legato e cantabile X W G W W X {ev`} p J J J J J J J J 5 W W W {ev`} J J J J J J J J 7 W W {ev`} J J J J (loco) J J J J ev` ev` ev`
Excerpt from Sepuluh Jari, p.1 (PE128)
YY YY TC Y YY TC Y 13 mf Y cresc. Y Y Y Y Y Y Y f cresc. Y sub.YY YY YY . YY Y TC Y YY 17 5 4 4 4 Y Y Y Y ff eva 5 4 4 4 YY Y Y eva TT Y p Y Y sfz Y mf Y Y Y 19 Y Y Y Y Y Y Y Y Y Y Y Y sfz
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A
Excerpt from Through A Glass Darkly, p.1 (PE102)
THROUGH
GLASS DARKLY Christos Hatzis
Piano and Percussion
John Psathas
First made famous by Dame Evelyn Glennie, Psathas’s Matre’s Dance (PE027) is now a standard in the repertoire for piano and percussion. The title refers to a dance performed by a group of fanatics in one of Frank Herbert’s Dune books. The dance was non-repeating and exhausting for the dancer, who often collapsed or died before completing the extremely long, complex routine. Matre’s Dance is highly energetic and maintains relentless rhythmic tension courtesy of unpredictable accents and syncopation.
piece for piano and flute. Containing tonal colours and harmonies reminiscent of Olivier Messiaen, the piano’s nocturnal stillness is beautifully complemented by the flute’s winding lyrical passages. Faster, swirling lines are passed between the two instruments, their wave-like contours contracting into quivering trills and expanding into grand sweeps.
WHIMSICAL SKETCHES OF FANCIFUL BIRDS
Vincent Ho
Ho’s Whimsical Sketches of Fanciful Birds (PE152) is an adventurous and colourful recital work for alto saxophone and piano. It consists of five short movements, each taking inspiration from a different bird species as imagined through the lens of the composer’s childhood. The saxophone’s expressive pitch bends, honks and frenzied gestures in combination with the piano’s colourful harmonic clusters makes for a playful, energetic and virtuosic addition to any post-graduate or professional performance.
Excerpt from Matre’s Dance, p.1 (PE027)
Glennie also commissioned Psathas’s Drum Dances (PE008), which is now also standard repertoire for drum kit and piano. Each of the four movements in this work were inspired by a certain rhythmic interaction possible between two performers. The performers gradually transition from battling for superiority to working together as they navigate material ranging from from a loosely-written stately dance to very tight and syncopated rhythmic interaction.
Piano and Strings
TUATARA
Gareth Farr
Farr’s Tuatara (PE037) is an energetic and entertaining work for percussion and piano, based on two musical ideas which are heard concurrently at the start of the work. A jaunty, angular, syncopated theme in the piano part is set against fast marimba lines. The musical argument of the work is entirely derived from these two ideas, which are exchanged between the instruments and subjected to development by variation.
Piano and Woodwind
Excerpt from Tuatara, p.1 (PE037)
Shifting between haunting and dextrous, Farr’s Nga Whetu e Whitu (PE131) is a captivating and challenging performance
Farr has arranged his string quartet Mondo Rondo for piano trio (PE132) Mondo Rondo is immediately engaging due to its combination of exotic melodies and percussive, funky rhythms throughout three contrasting movements. The pianist mimics the original version’s pizzicato techniques by muting the strings inside the piano.
Hatzis’s Old Photographs (PE104) is one of the composer’s most widely performed works for piano trio. Commissioned by the Gryphon Trio, it forms one movement of Hatzis’s award-winning multimedia theatre work Constantinople Old Photographs takes inspiration from a combination of sources including the music of Robert Schumann and early 20thcentury popular idioms reminiscent of the music of Astor Piazzolla.
Arranged for piano trio as well as clarinet, cello and piano, Psathas’s Island Songs (PE075, PE177) is perfect for ensembles looking to perform a high-energy work inspired by Greek dance. Suitable for performance by advanced secondary students and above. Of similar origins is Psathas’s Piano Quintet (PE036), perfect for chamber musicians who want to perform a virtuosic contemporary work influenced by Greek folk music. Individual lines are combined into layers of collective textures throughout the work, which makes the overall sound of the ensemble evocative and powerful.
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MATRE’S DANCE
Matre’s Dance © 1991/1994 John Psathas This edition © 1999 Promethean Editions Limited ISMN: 979-0-67452-091-1
& ? & ? 4 4 4 4 4 4 4 4 Piano Percussion Œ = 120 Œ = 120 ˛ mf Marimba ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ . . ˛ ˛ ˛ b f J ˛ ˛ ˛ n # ˘ Œ ˛ ˛ ˛ . . ˛ ˛ n J ˛ ˛ n # ˘ Œ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ # ˘ ‰ J ˛ ˛ ˛ b ˛ ˛ ˛ ˛ ˛ ˛ ˘ ‰ J ˛ ˛ ˛ ˘ ˛ ˛ ˛ ˛ # ˘ ‰ J ˛ ˛ ˛ ˛ ˛ ˛ ˘ ‰ J ˛ ˛ ˘ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ . . . ˛ ˛ ˛ # J ˛ ˛ ˛ b ˘ Œ ‰ J ˛ ˛ ˛ ˘ . ˛ ˛ #J ˛ ˛ ˘ Œ ‰ j ˛ ˛ ˘ ˛ v & ? & 4 ˛ ˛ ˛ ˛ ˛ ˛ (upper voice only) ˛ ˛ ˛ ˛ ˛ ˛ b ˛ ˛ ˛ ˛ ‰ . . ˛ ˛ ˛ # ˛ ˛ ˛ b ˘ ‰ ‰ ˛ ˛ ˛ ˛ ˛ b ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ b ˘ ‰ ˛ ˛ ˛ # ˘ ‰ ˛ ˛ ˛ ˘ ‰ ˛ ˛ ˛ ˘ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ . . ˛ ˛ ˛ # ˛ ˛ ˛ b ˘ Œ ‰ ˛ ˛ ˛ ˘
& & ? 8 6 8 6 8 6 4 2 4 2 4 2 8 6 8 6 8 6 4 2 4 2 4 2 Alto Sax Piano √ œ œ Y œ œ W œ W œ œ Y œ œ œ œ œ ‰ œ œ W œ . œ œ œ Y œ Y œ œ Y œ Y ‰ œ œ W œ X ‰ f f Allegro Œ = c.126 INEBRIATED CROWS œ Y œ œ œ W œ W œ œ W œ œ Y œ Y œ œ œ œ œ œ œ W œ œ œ Y œ Y ‰ œ œ œ Y œ œ W œ W œ œ œ œ œ œ œ W œ œ œ œ œ œ œ œ Y œ œ Y X ‰ œ œ œ Y ‰ & & ? 4 2 4 2 4 2 8 6 8 6 8 6 8 3 8 3 8 3 4 2 4 2 4 2 (√) 4 œ W œ W œ œ Y œ œ œ W œ œ œ W œ Y œ œ Y œ œ œ Y œ Y œ œ œ W œ ‰ œ œ Y œ Y œ œ W œ œ X œ Y œ œ Y œ Y œ œ œ œ œ W . œ œ œ W œ œ œ œ W X ‰ œ œ Y œ Y ‰ œ W œ œ œ W œ œ œ œ œ W œ œ œ W œ ‰ & & ? 4 2 4 2 4 2 4 3 4 3 4 3 4 2 4 2 4 2 √ 7 ˙ Wœ œ œ W œ œ W œ œ œ œ œ œ X œ œ Y 6 7 sfp ( ) J œ > ‰ œJ œ Y > ‰ œ œ œ œ œ Y œ œ Y œ œ Y œ Y œ Y œ œ Y œ œ Y œ œ œ Y œ œ œ Y œ œ Y œ sfz f œ œ Y œ œ Y J œ ‰ œ œ Y œ Y œ œ œ œ W œ X œ W 5 œ Y œ œ Y œ Y œ œ Y PE152 1
Whimsical Sketches of Fanciful Birds © 2012 Promethean Editions Ltd This edition © 2015 Promethean Editions Ltd ISMN: 979-0-67452-225-0
Excerpt from Whimsical Sketches of Fanciful Birds , p.1 (PE152)
Vincent Ho:
The Twelve Chinese Zodiac Animals, Book 1
For beginners
The Firestarters series provides young players (those beginning to learn the piano) with the opportunity to perform pieces that are musical gems in themselves. Each volume contains pieces at levels from Grades V to VIII which been annotated with suggestions for performance and interpretation. All are ideal for student recital or professional performance.
Firestarters 1: 14 Miniatures for Solo Piano
PE068 • ISMN 979-0-67452-078-2
Firestarters 1 is a collection of 14 miniatures for solo piano by composers from Australia and New Zealand, suitable for performers from Grade V to Grade VIII ability.
“Beautiful music, well crafted, interesting, idiomatic and challenging – this is exactly what I have asked for so often...” Piano Magazine, 2005
Firestarters 2: 7 New Recital
Pieces for Piano
PE069 • ISMN 979-0-67452-101-7
Firestarters 2 is a collection of seven recital pieces for piano by composers from Australia and New Zealand, suitable for performers of approximately Grade VIII to Diplomalevel ability. With contributions from composers such as John Psathas, Stuart Greenbaum and Ross Harris.
“Firestarters avoids the common pitfall of collections that mix superior works with the mediocre and there is not one among them that I wouldn’t want to teach, play or listen to.”
RITMICO, 2006
Firestarters 3: The Mike Nock Piano Collection
PE098 • ISMN 979-0-67452-108-6
Firestarters 3 brings to print a collection of nine works for solo piano by Jazz musician Mike Nock. This collection ranges in ability and style – from the gentle lullaby Sho’s Cradle Song to the fiery Cartwheels, Nock’s piano music is ideal for both students and professionals.
‘Nock’s ringing iconoclasm pervades all his music, taps a deep well of melody that transcends jazz and informs and ignites his every encounter.’ Downbeat, USA
Firestarters 4: Six Piano Recital Pieces for many hands and one piano
PE097 • 979-0-67452-122-2
Firestarters 4 is a collection of six recital pieces for piano by composers from Australia, Canada and New Zealand, suitable for performers of approximately Grade VI to Diplomalevel ability.
“This is an imaginative collection of pieces encompassing a variety of styles and sonorities which will be enjoyed by budding pianists and professionals alike. Students will love the romantic Eternity’s Heartbeat by Hatzis, Abbott’s descriptive Sapphire Shimmer, Silica Slide and the catchy Balinese rhythms of Farr’s Dua Lagu. The evocative Fragments by Psathas will be approachable for most students from Grade VI onwards while the more complex rhythmic structures of Gendall’s Great and Small.” Rae De Lisle
Other works in our collection
Stuart Greenbaum: But I Want the Harmonica
PE062 • ISMN 979-0-67452-073-7
Suitable for pianists of medium ability, But I Want the Harmonica is one of Greenbaum’s most recorded works for piano. As a child, the composer was asked which item he would choose if stranded alone in a boat: a fishing rod, a cake, a harmonica or a book – the work’s title is taken from the composer’s response. Constructed on minimalist procedures, at its core is a falling motive of gradually expanding intervals, all extracted from the D major scale which is the piece’s harmonic centre.
Stuart Greenbaum: First Light
PE030 • ISMN 979-0-67452-074-4
First Light is a fresh addition to solo piano repertoire that draws inspiration equally from Romantic music, such as Chopin, and contemporary composers such as the American pianists Lyle Mays, Keith Jarrett and Herbie Hancock. The work is driven primarily by modal writing and jazz-styled voicings, while following a Western classical trajectory of development and exploration of the opening melodies.
FIRESTARTERS 1 14 Piano Miniatures Gareth Farr Helen Fisher Stuart Greenbaum Anthony Ritchie Paul Stanhope FIRESTARTERS 2 7 New Recital Pieces for Piano Penelope Axtens Stuart Greenbaum Ross Harris Matthew Hindson James Ledger John Psathas Anthony Ritchie FIRESTARTERS 4 Six Piano Recital Pieces for many hands and one piano Katy Abbott Gareth Farr Chris Gendall Christos Hatzis Gao Ping John Psathas STUART GREENBAUM But I Want the Harmonica Piano PROMETHEAN EDITIONS STUART GREENBAUM First Light Piano PROMETHEAN EDITIONS FIRESTARTERS 3 The Mike Nock Piano Collection
Vincent Ho: The Twelve Chinese Zodiac Animals, Book 1
PE212 • ISMN 979-0-67452-322-6
Inspired by the Chinese Zodiac animals, Ho tailored this book of twelve piano compositions to the educational needs of students in Levels 2 to 7 of the Royal Conservatory of Music Piano Series. Ho devoted much time to researching the animals’ legends, personality traits, and cultural significance, as well as their distinguishing physical languages so as to capture their musical spirit and recreate their physical/gestural languages in pianistic form. In addition, he incorporates many sounds, harmonies, and performance techniques learned from his years of researching (and composing for) Chinese traditional instruments.
Douglas Lilburn:
Pieces for Piano
PEL09 • ISMN 979-0-67452-289-2
Pieces for Piano introduces students of intermediate to advanced levels (Grades V to VIII) to some of the most loved, interesting and more unusual of Lilburn’s works for piano. Here he provides Christmas celebrations for his friends, breathes the fresh air of mountains and ocean, and explores unusual modes
All scores are available in print and for digital download. Purchase direct from our secure online store https://store.prometheaneditions.com
and tone rows, discovering a strange but nevertheless beautiful atonality.
PIECE 1 from ‘SIX PIECES’ (1964)
Fingering has been added to help the performer.
2 mp = c.144 ( = ) 3 2 2 3 2 mp O W mf O O O O W W p 6 mp W mf W W W O W p 11 O W mf O O mf mp mf O YY p 18 p W W p O W O mp O O 26 Y mp Y X W O O 1 mf W 2 W 4 W 1 X 2 3 Y O O Y mp
www.prometheaneditions.com Douglas l ilburn Pieces for Piano P L09 Douglas lilburn Pieces for Piano PROMETHEAN EDITIONS THE DOUGLAS LILBURN COMPLETE PIANO MUSIC EDITION™ COMPLETE PIANO MUSIC VOLUME 1 Occasional Pieces (1942–73) • Sonata (1949) Moths and Candles (1950) Six Short Pieces (1962–63) Sonata for Piano in A Minor (1939) Nine Short Pieces for Piano (1965–66) ‘Seven Short Pieces’ (1965–66) Sonata (1956) • Three Sea Changes (1945–81) A Musical Offering ‘Short Piece’ (1965) • ‘Untitled Piece’ (1965) • ‘Untitled Piece’ (1981) Fred’s Birthday Rondino for a Birthday Three Preludes (1943) (1942) (1960) • Hommage à D.A.F. (c.1965) Sonata for Piano in F Sharp Minor (1939) • The Young Pine Tree (1945) Theme from ‘Variations on Theme by Douglas Lilburn’ (1948) • Five Bagatelles VOLUME 8 ‘A Christmas Offering’ (1944) (1964) ‘Piece in E Major’ (c.1942 • Prelude (1950) (1962) COLLECTIONS A NEW ZEALAND CHRISTMAS PRELUDES SONATAS SONATINAS Vincent Ho The Twelve Chinese Zodiac Animals Book 1 Piano PROMETHEAN EDITIONS
For the courageous
Our Promethean Edition™ series comprises works curated for the advanced and professional musician. The series promotes works by living composers, from many parts of the world, and aims to present unique musical journeys for the performer. Each edition is expertly edited and typeset to aid performance – our approach is to present the performer with music notation in the simplest form to aid clarity and speedy interpretation.
Brenton Broadstock: Dying of the Light
PE042 • ISMN 979-0-67452-070-6
Dying of the Light is suitable for pianists wishing to incorporate reflection and social commentary into their repertoire. A tribute to HIV sufferers and a response to the hysteria and bigotry surrounding the disease, an extramusical trajectory is clear here, particularly at the end – despite bursts of life and attempts of will to overcome decay, death overtakes. Yet beyond the sense of tragedy and outrage at untimely suffering and death, there is a feeling of transcendent positivity.
Brenton Broadstock: In the Silence of Night
PE043 • ISMN 979-0-67452-071-3
Broadstock’s In the Silence of Night is a beautiful and reflective work for solo piano that unfolds over slowly altering, minimaliststructured ostinato patterns. Cast in the aeolian mode, it proceeds in a hypnotic yet wistful fashion, until it reaches its climax, where the intensity of the dynamics and harmony suggest that the meditator, experiencing the silence of night, is very much awake and is perhaps engaged in deeply private reflection.
David Borden: 12 Preludes and Fugues
Volume 1 • PE201 • ISMN 979-0-67452-274-8
Volume 2 • PE202 • ISMN 979-0-67452-275-5
A master in the art of counterpoint, Borden initially derived the musical material of each of the preludes and fugues in this collection from the letters of the name of the person to whom it is dedicated. Using the Pythagorean numerology alphabet, the remaining letters in the name were matched to a number, and then these numbers were assigned to the pitches of a mode that best “fit” the name. Once a suitable mode was found, and each letter assigned its pitch, the rhythmic shape of the fugue subject was determined.
Gareth Farr: Balinese Pieces
PE128 • ISMN 979-0-67452-200-7
Balinese Pieces is a set of three piano works influenced by gamelan music of Indonesia. This set includes Sepuluh Jari (“ten fingers”), Tentang Cara Gamelan (“on the technique of
gamelan”), and Jangan Lupa (“don’t forget”). Farr perfectly captures the exciting rhythms and beautiful sonorities of this gamelan music and combines it with sounds and textures reminiscent of French impressionism. His writing for piano in these pieces is virtuosic with fast melodic passages and complex rhythms. The three pieces can be performed together as a set or separately as stand-alone works. Balinese Pieces is sure to be a highlight in any professional piano recital programme.
Gareth Farr: Gem
PE136 • ISMN 979-0-67452-249-6
Gem was commissioned by pianist Nicola Melville, in memory of her teacher Judith Clark. This mysterious work is a contemplative rubato journey, predominantly along the black keys of the piano. Short flourishes of notes reach into the instrument’s upper register, releasing notes in delicate droplets, particularly affecting when decorating the work’s searching theme. Accelerated ascending runs lead to a climax of tumbling high register figures in contrary motion with the left hand.
Gareth Farr: Mouse Hole
PE100 • ISMN 979-0-67452-217-5
An exciting and virtuosic work for solo piano, Mouse Hole requires fast fingerwork and dares the pianist to keep pace with the scurrying rodent evoked by the speedy streams of semiquavers that define the work. This work perfectly illuminates Farr’s penchant for rhythmic propulsion that typifies much of his musical output. The persistent semiquaver material in the right hand is underpinned with syncopated supporting material in the left, making it highly engaging for listeners. It is an energetic and challenging work that is sure to bring a huge amount of fun to any undergraduate or professional piano recital.
Gareth Farr: The Horizon from Owhiro Bay
PE091 • ISMN 979-0-67452-120-8
The Horizon From Owhiro Bay will appeal to pianists keen to build up an eclectic repertoire, as this work integrates Javanese slendro musical systems and stylistic elements associated with the French impressionist composers. A musical depiction of the “moody depths” of New Zealand’s Owhiro Bay and Cook Strait, its simple arching structure begins and ends with a repeated two-note motif, which serves as a literal horizon as the pianist performs surrounding ascending and descending figures.
Stuart Greenbaum: Ice Man
PE005 • ISMN 979-0-67452-075-1
Ice Man takes its theme from the plight of Australian student James Scott, who was lost in the Himalayan mountains for 43 days before being rescued. Each section is inspired by a different fragment of text taken from a newspaper article in which Scott described his ordeal. The text reflect a psychological journey, expressed in Greenbaum’s piano work with passages that range between dense activity and spaciousness.
SUPERVILLAIN
ÉTUDES,
VOLUME 1
Christos Hatzis: Through A Glass Darkly
PE102 • ISMN 979-0-67452-105-5
Hatzis’s Through A Glass Darkly is a dramatic and intricate work for solo piano that plays with the idea of aging and failing memory. Wrong harmonic turns at the end of phrases, memory slips, starting a new phrase in the wrong key and then adjusting afterwards; all of these harmonic dysfunctions intensify as the work progresses. Jagged juxtapositions of twelve-tone rows, minimalist fragments, and Liszt-like statements of the main theme all intertwine, making it particularly intriguing.
Matthew Hindson: Moments of Plastic Jubilation
PE049 • ISMN 979-0-67452-076-8
Moments of Plastic Jubilation takes its title from a newspaper critic’s outrage at the composer’s adoption of stylistic elements of techno music in his orchestral work SPEED. Whilst the work demonstrates musical correlations with styles and forms of popular music, it is structured using 1960s-style modular techniques. The music is thus very sectional, relying more on contrast than motivic development to drive it forward. It is an energetic and virtuosic addition to any piano recital.
Vincent Ho:
Nostalgia
PE161 • ISMN 979-0-67452-185-7
Nostalgia was originally intended as an encore piece for Ho’s percussion concerto The Shaman. Now it is available as a stand-alone arrangement for solo piano. The evocative and lyrical lines of the original work for vibraphone also lends well to the sustained resonance of the piano. Ho expresses a sense of nostalgia throughout the work with simple melody lines and ebbing accompaniment. The work also has virtuosic flare with fast cascading lines and textural flourishes. Nostalgia is an excellent work for creating a beautiful and thoughtful point within recital programmes.
Vincent Ho: Supervillain Études
Volume 1 • PE214 • ISMN 979-0-67452-328-8
Volume 2 • PE215 • ISMN 979-0-67452-329-5
Supervillain Études fixate on six supervillains from comic book culture. Ho found that each of these villains are extreme expressions of psychological disorders and decided to dive into their psychological profiles collaborating with choreographers to see their takes on animating each of the profiles. The Supervillain Études take gestural cues from choreography while
maintaining the profiles and personalities of the aforementioned supervillains, forming a compellingly moody, exciting, and villainous set of works.
Vincent Ho: Three Scenes of Childhood
PE153 • ISMN 979-0-67452-307-3
Ho evokes a day in the life of a young child through rapid waves of chromaticism, with restless time signatures keeping things tumbling forward. Fists and forearms are employed as little tempers flare, while elsewhere respite is found in the drift of sleep, notes twinkling rubato-like in the piano’s upper register.
John Psathas: Jettatura
PE029 • ISMN 979-0-67452-076-8
A great test for advanced pianists, Jettatura is an uncomplicated moto perpetuo, and another example of Psathas’s gift for creating high-energy, compelling works. Requiring heavy and impassioned fingering, Jettatura is shot through with defiance and aggression. The left hand hammers a stream of ostinatos while the right hand flies almost incautiously over the keys, stretching to the piano’s upper register.
John Psathas: Sleeper
PE090 • ISMN 979-0-67452-119-2
Sleeper was commissioned by the James Wallace Arts Trust for pianist Stephen De Pledge, as part of his programme of works by New Zealand composers, collectively titled Landscape Preludes De Pledge first performed and presented this programme at the New Zealand International Arts Festival on 28 February 2008.
John Psathas: Waiting for the Aeroplane
PE048 • ISMN 979-0-67452-278-6
Vincent Ho Supervillain
Suitable for performers of approximately Grade VIII to Diplomalevel ability, Waiting for the Aeroplane is Psathas’ response to the emotional experience of contemporary air travel. Interjections of melodic fragments above the work’s alternating two-note ostinato are like the fleeting, distracted thoughts and conversations occupying the individual obliged to wait at the behest of influences outside his or her control.
† & # # # # # # # # # # # # 2 2 2 2 ° Gently Ó = ◊.76 p 'Clayderman-esque' ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˇ ˛ J ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˇ Î m ˛ ˛ ˛ ˛ ˛ ˛ ˛ † & # # # # # # # # # # # # 4 ˇ ˛ ˛ g g g ˛ ˛ g g g ˛ ˛ g g g ˛ ˛ g g g Î ˛ ˛ J ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ J ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ? † ? # # # # # # # # # # # # 7 ˇ ˇ ˇ ˇ g g g ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ & j˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ & ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ Î ? & ? # # # # # # # # # # # # # # # # # # # # # # 4 4 4 4 eva 9 ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˇ ˇ ˇ ˇ g g g Œ f ˛ ˛Œ ˛˛ ˛rall. ˛ ˛˛ ˛˛ ˛˛ ˛˛ ˛˛ ˛ ˛˛eva ˛ ˛ ˛ ˛˛ ˛& ? & ? # # # # # # # # # # 4 4 4 4 Pumping Œ = 152 12 ( ) Œ U f ˛ > ˛ ˛ ˛ sfz j ï ï ï Ë ad lib ‰ U ˛˛ ˛˛ ∑ ˛˛ ˛˛ ˛˛ ˛˛ ∑ ˛ n˛ n ˛˛ ˛˛ ˛˛
& ? 4 3 4 3 4 2 4 2 4 3 4 3 4 4 4 4 j œ b . ‰ Œ J œœ œ b ‰ Œ œ b œ b J œ . ‰ Œ mp Œ = 116 –120 Obsessive compulsive and socially awkward R1DDLER œœ œ b b œœ œ œ b b b . ‰ J œœ œ œœ b n b n ˘ ∑ ∑ œœ b b ˘ œœ n . œœ b b . œœ n œ œ b b ⇥ œr œ œ b ‰ 3 œ > œ b b b mf & ? 4 3 4 3 4 2 4 2 8 3 8 3 4 3 4 3 gliss. 5 œ œ œœ œ > œ œœ œ n b b b > ⇥ œ œ b b œ œ œ œ b œ œ 3 f mf œ b > œ œ b œ œ œ b 3 j œ œœ b > ‰ Œ œ œj b œ b‰ & œ œ b œ œ b . œ œ b . œ œ n b mp œ œ b œ œ # œ n œ b œ œ # œ œ # ˙ ˙ ˙ n b accel. & ? 4 2 4 2 4 1 ˆ16 5 4 1 ˆ16 5 4 2 4 2 10 œ œ b œ b œ œ b œ b 3 J œœ b > ‰ Œ f a tempo œ b œ b œ b œ b œ b œ b œ b œ b 3 œœ b - œ bmf poco accel. ˙ ˙ n n > ˙ b > sf Subito Œ = 88 œ œ œ œ b b mp accel. & ? 4 1 4 1 8 3 8 3 4 2 4 2 14 œ œ œ b œ b œ œ 3 3 œ œ œ œ b b œ œ b b 3 œ œ # œ œ œ # œ # œ # œ œ # œ œ œ œ œ œ œ œ œ # œ œ n n b a f X X senza misura œ n > œ œ œ b b > œ b a tempo Œ = 116 –120 œ œj b œ b ‰ & ? 4 3 4 3 4 2 4 2 19 œ b > œ œ ∑ sfz f Œ = 120 –132 Declamatory (with greater urgency) œ b œ œ œ œ œ œ b Œ Œ 5 œ b œ œ œ b œ b œ œ œ œ b Œ Œ 9 œ œ œ b œ œ œ œ œ b Œ 5 œ b œ œ œ b b PE214 – 1
Études, Volume 1 © 2021 Promethean Editions Limited This edition © 2023 Promethean Editions Limited ISMN:
= 60 x5 4 4 F fade in very gradually (cresc. sempre) p 4 4 con ped. una corda 4 5 8 4 4 O Y 1 Y 5 Y 1 O Y Y G 5 8 4 4 7 3 4 + 3 16 4 4 3 4 Y X X 1 5 1 3 4 + 3 16 4 4 3 4 Ì simile 10 3 4 + 3 16 3 8 3 4 O pp Y O O O 3 3 3 3
Other gems
From our Massey University Edition™
Edwin Carr: Pleasant Pieces
Book 1 • ME05 • ISMN 979-0-67452-014-0
Book 2 • ME06 • ISMN 979-0-67452-015-7
Two books of piano works by Carr contains five pieces that cover much stylistic ground, from the impressionism of Reflections to the playfulness of The Chase and the unexpected changes of mood in Caprice. Nocturne in A minor is a melancholic pas de deux, The Darkening evokes a summer sunset on Waiheke Island, while Poltergeist is a hectic scherzo. All works in this book have been previously selected for the Royal Schools alternative ‘C’ list piano syllabus.
Edwin Carr: Ten Concert Studies
ME04 • ISMN 979-0-67452-013-3
Carr’s Ten Concert Studies are a present-day development of the concert studies of Chopin, Liszt, Debussy, Scriabin and Szymanowski. As well as demanding a transcendental technical command of the instrument, the studies call for an expressive and stylistic interpretation that give the impression of miniature tone-poems.
From our University Edition™
Leonie Holmes: A Tedious Brief Scene: Bottom’s Dance Score • UME05S • ISMN 979-0-67452-196-3
Parts • UME05P • ISMN 979-0-67452-197-0
A Tedious Brief Scene: Bottom’s Dance is a fine example of Holmes’ work from her career as a composer and educator in New Zealand for over 25 years. Holmes was inspired to depict the character Bottom from Shakespeare’s A Midsummer Night’s Dream in writing this lighthearted work. It is highly engaging and energetic with elements of minimalist techniques of layered melodic ostinati, and jazz-influenced and non-tonal harmony.
From our Larry Pruden Collected Edition™
Larry Pruden: Works for Piano
PEP01 • ISMN 979-0-67452-000-3
Larry Pruden (1925-1982) is one of a handful of New Zealand composers who studied under Benjamin Frankel at London’s Guildhall School of Music. Pruden’s significant contribution to the establishment of a genuine New Zealand vernacular lives on in the works for which he is best known. The early piano works appended to this volume reveal the scope of Pruden’s musical influences, ranging from Ivanovic to Rachmaninoff and Verdi.
David Borden
of counterpoint Davi D Bor D en 12 Preludes and Fugues Volume 1 Piano PROMETHEAN EDITIONS Davi D Bor D en 12 Preludes and Fugues Volume 2 Piano PROMETHEAN EDITIONS
A modern master
Research-led and scholarly publications
Douglas Lilburn, a New Zealand treasure
Douglas Lilburn occupies a pre-eminent position in New Zealand music, with a legacy extending well beyond his compositional output. As a composer, teacher and mentor he presided in innumerable ways over the artistic growth of New Zealand from 1940 onwards. From the early works redolent of the influence of Sibelius and Vaughan Williams, to the electro-acoustic pieces of his later years, his works have been instrumental in establishing a genuinely vernacular voice in New Zealand classical music. Douglas Lilburn (1915–2001) grew up on ‘Drysdale’, a hill–country farm bordering the mountainous region at the centre of New Zealand’s North Island. He often described his boyhood home as ‘paradise’ and his first major orchestral work, Drysdale Overture (1937), written while a student under the aegis of Ralph Vaughan Williams at the Royal College of Music in London, conjures up the hills, bush and stream as primal sites of imaginative wonder. At this time Lilburn wrote his Festival Overture and the Sonata 1939, together with other works that expressed national pride: a cantata entitled Prodigal Country (1939), and the Aotearoa Overture (1940), which has become a New Zealand classic. Although these works were written in his student years, their content, style and general confidence reveal Lilburn as an achieved artist. Returning to Christchurch, Lilburn banded together with an innovative group of painters, poets and publishers who were to prove influential. In 1947 Lilburn joined the staff at Victoria University College in Wellington and completed several works that received high critical acclaim, including two symphonies, two piano sonatas, and the Alistair Campbell song cycle Elegy (1951) – a vision of the titanic indifference of nature. Lilburn’s final years were spent quietly at home in Thorndon, Wellington, tending to his garden and, until the onset of arthritis, playing his beloved August Förster piano. He received the Order of New Zealand in 1988.
The Complete Piano Music
The Douglas Lilburn Piano Music Series comprises of eight volumes published in tandem with the award-winning recordings by Dan Poynton. The series includes 46 works (10 larger works such as sonatas and sonatinas, and 26 smaller works under 5 minutes) – a high total that came as a surprise to the editors when they set about compiling the composer’s extant piano works from files at the Alexander Turnbull Library at the outset of the project. Writing in 2011 about the insights to be gained from studying Lilburn’s output for piano, Rod Biss commented that “the symphonies and
overtures are the public Lilburn striving to create a music that belongs to New Zealand. But the piano music lets us hear a more exploratory, unusual and quirky side of him. This music is more personal. He reveals deep emotions, struggles with strange harmonies, flirts with atonality; he listens to and records the sounds of birds in his garden.”
For those considering better acquainting themselves with Lilburn’s piano music, Hoskins suggests starting small. “The sonatas, two sonatinas and the chaconne are bound to make an impression but I find they are not necessarily the right place to start; rather, begin with the shorter lyric pieces that touch on ecstatic and meditative moments of experience, and provide helpful clues to the interpretation of the larger works.” Biss, meanwhile, stresses the overall accessibility of Lilburn’s pianistic oeuvre. “This music is for anyone who plays the piano; in no way was it intended for professionals alone. Lilburn was a good pianist but he had no interest in unnecessary virtuosity or pianistic display. For teachers, it will be a goldmine.”
Reflecting on his involvement in the project, Hoskins states that “Douglas Lilburn’s contribution to the pianist’s repertoire remains unsurpassed in New Zealand and it has been a great privilege to get to know it first-hand.”
The editorial process
Editorial oversight for the series has been handled by Dr. Robert Hoskins, formerly an Associate Professor at Massey University and the New Zealand School of Music, and Rod Biss, formerly of Schott London, Faber Music and Price Milburn Music, who was instrumental in first publishing Lilburn’s piano music in the 1970s. Having worked with Lilburn directly on these early publications, Biss has revisited original source materials for the series. Together, the editors have carefully considered and clarified Lilburn’s manuscripts and early publications in preparing these volumes as both scholarly and practical editions for performance. Working so closely with Lilburn’s piano music allowed Hoskins and Biss to gain some interesting musicological insights into the composer’s sonic preferences. Our editions of Lilburn’s piano music publishes definitive new texts based on close examination of manuscripts and published editions that have been collated to produce versions that are meticulously faithful to Lilburn’s intentions. Lilburn always had a clear idea of how he wanted his works to sound, and this is reflected in the attractive clarity of composer’s manuscripts (this is not to
say they were without their idiosyncrasies, such as Lilburn’s practice of writing stems on the wrong side of noteheads).
Douglas Lilburn: Complete Piano Music Edition
Volume 1 • PEL01 • ISMN 979-0-67452-124-6
Volume 2 • PEL02 • ISMN 979-0-67452-125-3
Volume 3 • PEL03 • ISMN 979-0-67452-126-0
Volume 4 • PEL04 • ISMN 979-0-67452-127-7
Volume 5 • PEL05 • ISMN 979-0-67452-128-4
Volume 6 • PEL06 • ISMN 979-0-67452-129-1
Volume 7 • PEL07 • ISMN 979-0-67452-130-7
Volume 8 • PEL08 • ISMN 979-0-67452-131-4
Referring to the editorial process for Lilburn’s Sonatina No.2, published in the eighth volume of the series, Biss remarks “… it had always seemed to Hoskins and I that the pedalling also added a crucial element to the harmonies of the piece. There were effects where the pedal would sustain a bass note while unexpected chords floated above in the right hand; Nielsen referred to them as “poignant dissonances”.
Generally speaking, Lilburn is very precise in his notation but there was a certain individuality about his manuscript: he would, for example, group quavers so that the performer knew which one carried an emphasis instead of grouping them in regulation threes and fours; he indicated some pedalling but generally preferred to signify what he wanted with phrasing marks; he also brought to his writing an awareness of string bowing and his piano music has many examples of phrases with dots or tenuto marks below them. “Sometimes” says Hoskins “we have had to look beyond the letter to the spirit or slant of the manuscript to fully harvest his intentions. But there is always the ‘devil in the detail’ causing restless nights: the BÍ on the third beat of the Right Hand of bar 371 in the great Chaconne, for example, has been queried by some performers who believe that Lilburn intended a CÍ so what to do? Well, we have retained the holograph’s BÍ in our edition as it seems to be in keeping with the patterns Lilburn has established.”
This edition comprises of eight companion volumes to accompany the recorded series and draws on the expertise of Robert Hoskins and Rod Biss who was instrumental in first publishing Lilburn’s piano music in the 1970’s. Together, the editors have carefully considered and clarified Lilburn’s manuscripts and early publications in preparing these volumes as both scholarly and practical editions for performance.
Douglas Lilburn: Piano Preludes
PEL13 • ISMN 979-0-67452-303-5
This gathering of shorter pieces includes music that Lilburn composed in his initial years as a freelance composer, as well as the very last work to come from his pen. Clear-eyed and felicitous, they are nevertheless shot through with something transcendental – a strange and beautiful excitement.
Douglas Lilburn: Piano Sonatas
PEL11 • ISMN 979-0-67452-301-1
This volume comprises of Lilburn’s four piano sonatas. The sonata in F sharp minor is a work of pure Romantic sensibility, while the sonata for piano in A minor reveals Lilburn’s very sharply realised visual sense. There is a bracing, lyrical power to his 1949 sonata, the curve and grain of the music partaking of an impressive physical space. The second sonata, from 1956, provides an outstanding example of Lilburn’s “orchestration” of piano colour and his sensitive balancing of tonal relationships.
Douglas Lilburn: Piano Sonatinas
PEL12 • ISMN 979-0-67452-302-8
And about phrasing, Biss observes he hated a vague slur aimlessly floating for bars in the air, Lilburn wanted his students to think like violinists. “Imagine, how a string player would bow that phrase, or how a singer would breathe,” he’d say. If you thought like a violinist, he told us, you would end up with phrasing that made musical sense.”
This volume contains Lilburn’s two piano sonatinas. Sonatina No.1 combines geometric patterning of classical forms with the distinctive simplicity of colour and line that the composer so admired in the work of the regionalist painters. Composed in the Autumn of 1962, Sonatina No.2, together with Symphony No.3, provides the fullest expression of Lilburn’s last notated music before he turned to the electroacoustic medium.
Douglas Lilburn: Pieces for Piano
PEL09 • ISMN 979-0-67452-289-2
Lilburn Trust
Pieces for Piano introduces students of intermediate to advanced levels (Grades V to VIII) to some of the most loved, interesting and more unusual of Lilburn’s works for piano. Here he provides Christmas celebrations for his friends, breathes the fresh air of mountains and ocean, and explores unusual modes and tone rows, discovering a strange but nevertheless beautiful atonality.
352 W p XXII W W W W W W W W O W O O W semplice W W W W W W . W W W . W W W W W W W W . 358 W W W W W W W W W W W . WW W W W W W W . W W W . W W 364 O W W XXIII W O p W W OO cantabile W W W X X . . WW . OOW W W O W 370 O W W W O W W O O OO W OO OO OO W OO W OO W W O O W W W OO W W O O W W cresc. 375 O f Y Y Y OO OOY Y Y Y Y OO dim. OO Y OO OO OO Y OO Y OO Y OO OO OO Y OO OO O O O O 380 OO OO Y Y OO Y Y Y OO OO Y OO pp OO poco rit. OO OO Y OO Y OO OO Y Y OO OO Y OO Y OO Y OO Y OO Y OO Y OO
Douglas LilburN Piano Music 1 Douglas LilburN Piano Music 3 Douglas LilburN Piano Music 4 Douglas LilburN Piano Music 5 Douglas LilburN Piano Music 6 Douglas LilburN Piano Music 7 Douglas LilburN Piano Music 8
We gratefully acknowledges the support of Creative New Zealand the Lilburn Trust, the HRL Morrison Music Trust, Massey University in the publication of this edition.
PROMETHEAN EDITIONS
Publisher of fine music
Promethean Editions was established in 1997 with the mission of bringing the fire of new, fresh and exciting contemporary music to performers and audiences throughout the world. Today they publish, promote and market music by emerging and established composers in the global marketplace. Our music catalogue features the music of Canadians Christos Hatzis and Vincent Ho, and New Zealanders Gareth Farr and John Psathas, plus music editions from 31 other composers from the Australia, New Zealand, the United Kingdom and the United States. Also included are scholarly editions of music by Ralph Vaughan Williams, Béla Bartók revered New Zealanders Douglas Lilburn and Larry Pruden.
Publishers Promise: Each editon we publish is of the highest possible quality, contains music that is highly original, infused with melody and energy, and will be a product that you will treasure for your lifetime.
Dr Ross Hendy, Publisher and Founder
Promethean Editions acknowledges Rod Biss, Jared Commerer, Charles Davenport, Alison Grant, Robert Hoskins, Brad Jenkins, Moss Lee, Thomas Liggett and Ben Woods all of whom have contributed to this catalogue.
Photographs: Ross Hendy, Moss Lee, Ben Woods © 2023 Promethean Editions Limited
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