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ETUDE FANTASY CCammissined by fee Tocea on great fram the Fyth Bush Chor {oble Foundation. Ine for the Bicenienaiel Pann Sarvs ofthe Wash nln Pefrming Ars acon decd tothe mean ah Bush NOTES My ETUDE FANTASY is actually a set of five studies combined into the episodic form and character of @ fentasy. The material in the studies is related most obviously by the interval of ‘2 second (and its inversion and expansion to sevenths and ninths) which is used both meledically ‘and in the building of the work's harmonic structure. ‘The first elude is for the left hand alone~a bold, aften ferocious statement which introduces both an opening six-note row the first notes of the work} and @ melodic germ (marked “icy” in the score) which follows the initial outburst. This etude reaches a climax in which both the row ‘and the thematic germ are heard together, and ends as the right hand enters playing a slow chromatic descent which intraduces the next etude—a study of legato playing, tn the short second etude both hands slowly float downward as a constent crossing of contrapuntal lings provides melodic interest, The sustaining of sound as well as the clarity of the crossing voices is important here. ‘The third etude, « study on a two-note figure, follows~a fleet development on the simple pattern of a fifth (Fingers one and five) contracting to @ third (fingers two and four). In this section there is inuch crossing of hands; during the process a molody emerges in the top voices. A buildup leads to 2 highly chromatic middle section (marked "slithery"), with sudden virtuosic outbursts, after which the melody retums to end the etude as it began. ‘The fourth etude is a study of ornaments. Trills, grace notes, tremolos, glissandos and roulades orament the opening material (Etude I} and then develop the first four notes of the third etude into # Erenetically charged scherzando where the four fingers of the left hand softly play a Jow cluster bf notes {like a distant drum) as the thumb alternates with the right hand in rapid barbaric thrusts. ‘This leads to a restatement of the opening 6-note row of the fantasy in a highly ornamented fashion ‘After @ sonorous climex comes the final otude, a study of melody. In it, the player is required late the melodic line, projecting it through the filigree which surrounds it; here the atmos- phere is desolate and non-olimactic, and the material is besed entirely on the melocic implicatfons nthe loft hand etude, with slight references to the second (legato) study. The work ends quietly with the opening motto heard in retrograde accompanying a mournful two-note ostineto. Le. to Performing time: 18 minutes ‘The premiere, by pianist James Tocco, took place in the Kennedy Center, Washington, D.C, on October 9, 1976. 2 ETUDE FANTASY Edited by James Tocco Etude NO} A Hecitatine d= 69 for Solo Piano For the Left Hand Alone John Corigliano (1976) Fz LH, Mf stark, fioree Zo a tempo inure. dey ‘a faster Serpette Pp etee Se stm = = == = cy aft — . af4) ee Lis= = + ¥ aft " fa tempo) + ise + x wie pst af his work ma mi00e Ing pnsseaprng oF 3 ined in 8. rm serone we mechanic. Slower (d= 76) Pies pos. fuga eee maviing farwaed sa tempo > (britttey l as190 an — é = Allegao (drm 138) ide) fui 3 > 7 he iF Mark dhe contin 48100 q _ a a be oF é ‘ faim atempo accel, nae Sg | thant and driven b: r ialey tea ase evel, 0 dai ral bh filio.) aoe Nee — 19) Leypercoptibly change t lgatssino (rade Na. 3) and cob to d= 60 a0 Ra legato Dodd (san LA d= 60) 490 age det) bg ee ae walt : IP PP toning wa. PRI ye qe a ee ec F vi 3 ee = = == iE geen eet ea = Eo eareegee rege accee ro eeaee tae te yal As ansecented 2100 Etude N93: Fifths to Thirds Allegro Sele stia Lh" +) Pay the phrused melody legato; other notes are dotscied 42190 4ai90 # 4819 tw Tp rf Dp (alithery flocoy rif (detached) eee eee eee Sg eye gle FF (hammered) pant. Ale poss Bp legato (lucoy 16 Andante @ = 72 B ————— SS — 3 ‘S PP P PP tilreamtikey Fit, \[a tempo XG b ie bas PP a tempo loco) hehe $6100 18 Presto, Ay) ln. pep se Pee Etude N94: Ornaments. sca. 69 frery free) => fr (slow > accel penne Br (start slaw and accel, = PP. 1a ac rin a 2 i ™p PP = pasa a Pp Pees | — mp =e a z 4 ae mp PPP es toca Bl. rye pues Be am z ain anal ; ATE + * oy | LS 2