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Alexander Goodhart
(2011)
.
2
Performance Notes
Composer's note:
This work's title should imply a few things. It is, indeed, telling a story. Typically, a soliloquy is delivered
through one voice. In this context, the players should seek to sing "as one," or in conversation, but never
as leader with accompaniment: even if the parts are very disparate in texture.
Soliloquy, my first composition, details a part of my life that--even years after its composition-- remains one
of the most poignantly depressing times I've experienced. The substance that creates the piece is entirely logos,
and the performer must utilize an emotional language of rubato, dynamic contrast, and lyricism to convey
the drama it is based on.
Performance practices:
1) It was the composer's intention that the pianist read from a score including the saxophone part.
This can be the full score or the version with a sax part stripped of dynamics and articulation.
2) The piece's middle section is ruled by uncomfortable shifting of rhythmic cells. Though
a free sense of rubato throughout the piece is necessary, these sections are notated with a precise
rhythm to be followed.
Symbols:
The composition makes use of three fermata; duration should always be decided by the performers,
but maintain the following ratio:
Short
Normal
Long
(Least dense)
, or
(Most dense)
None of these markings necessarily imply an unbroken sustain, but rather relative density of the intended sustain.
The ordering above from least to most dense, and its expression should be decided by the performer based on
both rhythmic and chromatic density of the passage being marked. A break and repeat or cessation in a pedal
line does direct the player to play without sustain.
No other pedaling is marked, but the pianist may choose to use una corda, especially in the beginning and ending,
if they so desire or if the brightness of the piano demands it.
Soliloquy
Alexander Goodhart
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Pathetique q=72
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