Not Sorrow

Piano Solo
for Yingying Su
-

-
2016
Duration: 30
Peter Kramer
PROGRAM NOTE

Not Sorrow was composed for the pianist Yingying Su during the Winter and Spring of 2016.

Movements:
1.! Prelude, Tenere to hold Fortune
2.! Interlude, Chiamata to call
3.! Caprice, Dialogue
4.! Sphinxes, calm and somewhat solemn
5.! Thema, quasi-waltz, leise, innig
6.! Mobile-Chaconne, Rmede
7.! Empfindsamkeit Stille (Romance, Bells, Thema (echo), Lamento, Nepenthe, Quietus, Coda)

It is like the flowers falling at springs end,

confused, whirled in a tangle.
What is the use of talking! And there is no end of talking
There is no end of things in the heart.

Exiles Letter [fragment]

Li Po (translated by Ezra Pound)

! 1
NOTE ON OFF-STAGE/ON-STAGE INSTRUMENTS

Not Sorrow may be performed with or without the off-stage/on-stage instruments, but ideally should be
performed with all three instruments: flute, violin and viola if possible.

Note on flute: The use of the off-stage flute is optional (page 48 of the score), if used the flute should initially blend with
the sound of the piano, as the piano dynamic fades away the flute should become more and more audible, the last note
played by the flute should be slightly drawn out sustaining over the final bar line, the flute should sound like an echo of
the piano resonance rather than a flute itself.

Note on viola: The use of the off-stage viola is optional (pages 72-75 of the score), if used the viola should start on the
downbeat of m.14 sustaining the open C and G strings at a ppp dynamic, from mm.14-19 the viola should crescendo to as
loud as possible, at m. 20 the viola should cut off abruptly on the downbeat! The viola here serves, like the off-stage
flute, as an echo of the piano resonance itself.

Note on violin: Movement V can either end at m.91, or may continue attacca to the violin and piano miniature Sonatina
"adieu" (the score can be found after page 97 of the score), The use of the on-stage violin is optional, if used the violin
should enter onstage during the fermata at m.90 (page 65 of the score). The piano will need to be quickly prepared with
eraser(s) at the higher register of the piano (see note of preparation in the score for Sonatina "adieu"), the violinist may
either enter from off-stage or may wait and enter from the stage itself, from whatever direction the violinist enters the
miniature should begin as quickly as possible (not rushed) after m.91, there should be no applause after or before the
miniature, movement VI should continue uninterrupted.

! 2
NOTE ON PERFORMANCE/STRUCTURE

Originally conceived as a set of etudes highlighting various aspects of techniques I have traced throughout my
music, Not Sorrow grew into a large scale form more narratively driven than technical. This piano solo contains musical
(including choreographic) illusions to fortunes wheel, nepenthe "drug of forgetfulness, echoes/alliterations of musical
material as in a house of mirrors, a mobile or chaconne, and incorporates musical quotes/fragments, in reverence, from
my favorite piano composers: Beethoven, Schubert, Schumann, Ligeti, Ives, and Takemitsu; additionally, aspects of
historical keyboard performance practices are addressed.

There are three salient features I would like to bring into relief. The following scale is introduced throughout the
first movement and is built from a collection of four key signatures: F-sharp major, A major, C major, and E-flat major
(Figure I). These four keys/triads are found opposite one another when traced along the circle of fifths, and form the
sign of a cross or the spokes of a wheel. This scale represents throughout the work the churning and turning power of
fortunes wheel which constantly turns over and over again without relief. This affect should come across in
performance. These four keys/triads are found vertically arranged as well (Figure II), and should retain the affect of

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fortunes wheel described above.

# # #
Figure I

# # # n
& # # n n n & n n b
F#
A

?
C
b b #
n n n b
?

b b
n
Eb #
(two characters) Eb
C

? # # # n n
bb
# n n n n
! 3
{{ ?
C
Eb

Eb
b b # n n b ?
n
(two characters)
n nEb b

b b n
b b n
#
#
C
(two characters) Eb
Figure II C

? # # # n b
n

# n n n b
? # # #
n n
b
n

# n n n b
n
The material derived from the scale described above is constantly alluded to, recycled and fragmented in each of
the seven movements, in addition to the material in figures I/II there are two chords treated as characters whose pitch

{{
material is found in a number of configurations throughout the work (Figure III).

Figure IIIb
? #
? # b
?

? #
#

Aside from the pitch specific material outlined above, aspects of resonance and echoes are a highly salient
feature of this work, and close attention should be paid to the pedal markings to create these layers of sound, the
98
pianist is free to omit or add pedal markings that enhance this layering effect. Above all, this piece invites the pianist to
pursue these pitched ideas as if moving through a maze or labyrinth, finding new ways to hear and fold the material to
the pianists will throughout the piece. 98

! 4
 NOTE ON PEDAL AND FERMATI

Pedal Dynamics: At times the performer will be asked to attack the pedal percussively creating a percussive sound
exciting the resonance of the piano itself. The pedals themselves should be stomped on to create a percussive sound,
when releasing a pedal percussively slide the foot off to create the most percussive sound. Percussive pedaling is
notated with dynamics in parenthesis (ff or f) indicating that the resulting sound will not be as loud as indicated,
however the effort to produce the sound should match the given dynamic. Percussively attacking the pedals will always
be louder than percussively releasing them i.e. ff for attacking, f for releasing.

Pedal Types:
ped. (sustain pedal)
Not Sorrow
sos. (sostenuto pedal) for Yingying Su
Recitivo (freely, not too fast)

31 12
u.c. (una corda pedal) Peter Kramer (b.1989)

32 8
d 9I

116
ne
ng the given notesPedal
in the Markings:
sostenuto pedal (assuming a

sonnet
6 sounds should be eliminated)
, these notes should 1/2be(denotes
held into thea half pedal,
following when half-pedaling, previous sounds should still be ringing "quasi-echo")
page.

b (tempoto the
16
hese notes read silently to yourself, as a sort
full (denotes a fullattacca.
lift of the pedal, all previous

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alPrelude 1) q=50_55 Furioso (tempo 2) a little slower
Let me: not to the marriage; of true minds
before moving on first movment
SONNET 116 - Shakespeare
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 Not Sorrow

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for Yingying Su
Peter Kramer (b.1989)
Bookend I
Begin by capturing the given notes in the sostenuto pedal (assuming a

6
playing position), these notes should be held into the following page.

16
While holding these notes read sonnet 116 silently to yourself, as a sort
of prayer or ritual before moving on to the first movment attacca.
SONNET 116 - Shakespeare

#### # Let me not to the marriage of true minds

& # Admit impediments. Love is not love
Which alters when it alteration finds,
Or bends with the remover to remove:

# ~~~
O no! It is an ever-fixd mark
b ~ #### #
That looks on tempests and is never shaken;
?
#
Piano It is the star to every wandering bark,
Whose worth's unknown, although his height be taken.
Love's not Time's fool, though rosy lips and cheeks
Within his bending sickle's compass come;
Love alters not with his brief hours and weeks,
? #### #
b n ~~~
But bears it out even to the edge of doom.
#

If this be error and upon me proved,
I never writ, nor no man ever loved.

sos. (hold)
(sostenuto pedal)

Copyright 2016
{
I. Prelude, tenere "to hold" fortune

<> = see clef

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ped.
(1/2) "ff" percussive!
(sos.)
(slide foot off) "f"

* This material "Romance" should sound as if coming from very far away (echo), and should be immediately interupted by the material in m.2 "torn off"!
** Release the sos. pedal before the attack of the sustain pedal, this should produce a slight reverberation/echo in the piano.

2
 Note on Furioso: Extremely violent, with a frustrated energy throughout, the top and bottom staves should have their
own sense of dynamic cresc./decresc. (see dynamic swells in parenthesis), the dyads should always stand out of the texture
very pointed and stabbing, the pedal noise should add to the violent affect both sonically and visually.

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ped. ped.
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u.c. sos.
"f" "ff" (hold)

9
{
en presence d'un rev (same tempo 1)

"in the presence of a dream"

22 34 18 88 r.h. ^j"violent!" . 15
16
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10
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Recitivo (freely, not too fast)

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32 12
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r.h.

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3
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ped. ped.
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29 12
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13
{
(tempo 1) (tempo 2)

34 24 > >. 58

38 6
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r.h.

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(ped.)
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u.c.
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14
{
58 24 34
(tempo 1) (tempo 2)

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15
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34
(tempo 1) (tempo 2)
>
9
n . >. >.
5
r.h.
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16
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u.c.
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17
{
46 44 42 43
5

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48
43 42 43
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43
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51
42
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6
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>

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n.
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n n
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(ped.) (hold)
19
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42 58 10
(tempo 1)
52
4
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b
n b
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p > p

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n nn. b . n
j
n - n -

> >
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p dolce

pp
(ped.)
"f" "ff" "f" "ff" (1/2)
u.c.
"f" "ff"

20
{
Coda (a little slower)

<> = see clef

54 10
4 ^ 43
16

r.h.
# U #- #
n

& & n - n - & #

p dolce b -
"swiftly"
# sffz (overlap hands somewhat)

U #-
ppp
# n-

? & n-
l.h.

# & # n
n
>. p dolce

? U
#
#>
p

ped. (pedal freely, molto legato)

(1/2)

21
{
55 43
16 draft 01/28/2016 | score 03/07/2016 NYC

[Duration: 3-4']

&
b
# -
>
r.h.
r
j
n
r.h.

? -
n -
& n-
n -
-
mp p smorz.

pp ppp

? nb

?

- -
b
> R J

l.h.

l.h.

(ped.)
(off)
u.c.
(off)
sos.
(the final chord should be captured in the
sos. pedal and held into the next movement)

22
{
II. Interlude

Petite Prelude q=60_65 (freely) Chiamata "call" (same tempo)

15 ^ ^ 74 - 14
8 n U n>-
b j b -.
#
3
n

& n. J

sffz mf sffz ppp p "horn-like" pp
U
b
n j3
# -
& ?

>. >.
n -.
-
(these notes remain in sos. pedal

b

from the previous movement)
? nOO ?
# OO
<> b
-

ppp
ped.
"ff" (very quick pedal on/off) "ff" (simile) (1/2)
(sos.)
"f"

(release sos. pedal slightly before attacking the sustain pedal, simile movement 1 m.3)

23
{
3 14 18 j 98 - 14 18 j 34
b - -.
3
# n b
& . .

J

ppp pp p pp ppp

? # OOO
b O n. 3
j #bOOOO n.

b ?
n
<>
& J # - n - b -.
&
J
j -j

3

?

?
#n OOOO


# OOOO
<>*see note J J-
ppp

(ped.)

(1/2)
sos.

* Depress the notes silently, release sustain pedal, and capture the notes in the sostenuto pedal in this order.

Note on sos. pedal: Sustaining notes will resonante, coming from the sos. pedal, when prepairing notes in the sos. pedal take your time, but don't wait too long, there
should be a performative affect to capturing the notes silently in the sos. pedal, as if something is slowly and silently progressing upward.

24
{
>.
34 > 14 18 j 38 18 98
bb-
,
8
-.
#
p
b n
b -
& J .

j
mp pp p
-
mp sfz
>. ,

j j n j
b#b

& b #bOOOO n. n.
> - nb-.
-j

j
#
(echo)

? n #OOOO . ? # ? n.
n ##

J n
J-
<> J
ppp
ppp J

ppp
(ped.)

(1/2) (1/2)

(sos.)

25
{
> >

rev (a little slower, tempo 2)

98 14 13 118

r
13

16 bb
r.h.

b^ n-
r.h.

& J

p pp
sffz pp

b #bOOOO Kr p dolce

r.h.

& > > # n -

l.h. J
> R R
mf
>. mf
l.h.
?
&
#OOOO

(ped.)

(off) "ff" (full)
(sos.)

26
{
(tempo 1) (tempo 2)
> >
118 14 14 13
n n
16 >r 8
3

16
fi fij
w
w
&

J
w
b -
<>

p
mf pp


j w #bOOOO
n-

& n > b w
w & &
>
mf 3 p dolce

& #OOOO

&

(ped.)

"ff"

(sos.)

27
{
(tempo 1) (tempo 2)
> > fij
13 14 24 74
8
5
r.h. ^
9
fi

19
w
w j j
w n b
r.h.

& b-

<>

p sffz pp
pp


b w #bOOOO Kr Kr
l.h.

& > > w

w & & b. b
n
<> .>J
5
mf l.h.
p


(p)

#OOOO b. .
l.h.

& &
?
mp

r.h. >
(ped.)

"ff" (1/2)
(sos.)

28
{
(tempo 1) (tempo 2)
> >
fij
74 n n 38 17
8
3
22
fi w
w
w
&

p p dolce

n
b w
w Kr
r.h. l.h.
?
& > w
>
mf
3 > R-

mf

? ?

(ped.)

(sos.) (hold)

29
{
(tempo 1)

17 >. pp 21
r.h.
24
8 >.
r l.h.
8

# U
l.h.

l.h. r.h.
>
& b.
>. 3
> (detached) mf f sfz sffz
? > b>. n.

?
>
<>
&
l.h. r.h.

p mp
?
>
<> >

sffz
(ped.) ped.
"ff" (full)
(sos.)
"f"

30
{
Bagatelle (same tempo, freely)

21 "
8 b>- " 12
4
n b#
25
- j
pp
- - - -
n b - n
&
mp "lullaby" p pp p ppp cresc. poco a poco

b
# -
& b- n
?
> n - b - - molto espressivo -
?

{
(ped.) (pedal freely, molto legato)
(1/2)

26 12
4 nj
- b - j
& n- - -
-
- - b- -
p cresc. poco a poco
? n -
n b -

31
{
27

j ? b
& J
b
- - - -
mp decresc. poco a poco
>- -
? b
b
b
- - - - >- -
?

{
28

? J b j

?
- - - - - -
? b b
b

-
<>
- - - - -
32
{
29 64
? j

?
decresc. poco a poco

? j
b
pp
<>
- - - - -
? -
b b
b

- - - - - -

{
64 14

30

? & #bOOOO

<b>
? j
& #OOOO
pppp (inaudible)
? -
b
draft 01/31/16 | score 04/03/16 NYC

ww
bw
[Duration: 2-2'30'']

-
(ped.)
pppp (inaudible)
(sos.) (hold)
33
 III. Caprice

{
Dialogue q=110_120 (molto legato)
12
4 (arpeggio sign = staggered notes, not too fast)

&

ppp sempre

? #

{
ped. (pedal freely and frequently, sustaining, avoid full pedal lifts, not too muddy)

2
(sos.) (hold, from previous movement)
10
4
&

Note on texture: The ppp material should be very quiet and soft, there should be a sense of phrasing and contour within this texture, the chords i.e. m.4 and the

{
descending scale beginning in m. 6 should be woven into this ppp texture creating a patchwork of different sustaining sounds, overall the sound should not become

10 18 12
too muddy, the pedal should be changed frequently.

3 4 4
& # #

j
#
(ppp)

?
# b
b
J let ring (l.r.)
pp
34
{
5 12
4
& ?
#

#
ppp

? n n #ww

{
(phrase the notes of the descending scale)

<>
6
49 81 42

#.
l.h.
l.r. sempre

&

&
p dolce

? #
&
r.h.
#

(ppp)

#
(ppp)
j
? <#> # # #

J
l.r. sempre

pp
35
{
<>
114 18 74

9

l.h.
#.
&

p dolce
r.h.

& n
# # #

(ppp)
j
?
l.h.


J

{
(phrase the chord progression)

pp

<>
7
4 81 43 58

11 l.h.

#.
&

p dolce

#
&

#
(ppp) r.h.

(ppp)
? j n
#
#
#
J
36 pp
{
<>
14 5 >K 18 34 18 24 18 14
8 r l.h.
r.h. r.h. l.h.

#
# . .

&

&
R
mf p dolce p dolce p dolce

# # #
&

r.h.
(ppp) (ppp)
j (ppp)
j j
? ? n ? # ?
b
b &
& # n
<> J
J

{
(ped.) (continue freely)
pp
l.h.
J
"ff" pp pp

41 81 42 81 43 81 118
p dolce
.K -
# # . n
r.h. r
9
l.h. r
20
# #.

& #

p dolce
ppp (as echo) p


l.r.
&

(ppp)
(ppp)
j j
(ppp) j
# #
? ## n ? ?
& & # &
J J
(ped.)
J
pp (simile) pp
pp
37
{
118 >.
r.h.

Kr l.h. 18 98
# #
26

. .
& R

mf p dolce (p) (p)

#

&

(ppp) (ppp)
j

(ppp)
?
& # bb &
# n
J

{
(ped.) (simile)
"ff"
pp

81 13
8 >. 47
r.h.
29
Kr l.h.
& .
R

p dolce

mf p dolce
#
#
# #
&

(ppp)
(ppp) (ppp)

#
& # ? j
# & #
#
#
<> J (ped.)
"ff"
pp
38
{
32 74 18 44 12
4

l.h.

& .

p dolce

#
& # #

(ppp) pp (ppp)
j
& # ?
n
#
J

{
35 12
4 45

r.h. p

& . .

p dolce

&
b

(ppp)

#
(ppp)

? # #

39
{
36 54 18 54 94
&

&
n

n
(ppp) (ppp)

? # j
?
# ?

<> J

{
pp

49 49
(as echo)
9
39

Kr
r.h.

&
b. b
(p)

p dolce ppp

&
l.r.

b
(ppp)

? b b. .

>.

l.h.
ppp r.h.
(ped.)
(1/2)
40
{
40 94 38 10
4
Kr l.h.
r.h.

&

>. R
mf p dolce

& #
J

#
(ppp)

? n n
& n

{
(ped.)
"ff"

42 10
4 81

9
Kr

&

l.h. . l.r.
p dolce (p)

& # n
b. . . b
. (ppp)
(ppp) ppp (as echo)

& # n # ?
r.h. l.r.
(ped.)

41
{
43 18 64 78 58

p dolce

& j
b
J

& n n # #

b
(ppp)
j
(ppp)

? b n & # ?
j
b b
J b

{
p dolce
pp pp

46 58 <> 41 <>
9 . .
81
n>
. b
& & b &
R
. . .
9 pppp
mp

& . .
b.
ppp
>.
? <b>
. b. r
. r.h. -
(as echo) l.h.

l.r.
l.r.

R J

p mf p dolce p dolce
(ped.)
"ff" (1/2)
42
{
poco meno moso (quiet, calm)

49 118
24 18 -. 43 18

bn
# # J J

&

R
(ppp) pp (ppp)
(ppp) p
-.
sffz

& j
J #
p
? -.
J J

{
p dolce
(ped.)

81 -. 45 81 -. 43 45
(the 1/8 bars should act as a drone, always connected)
53

J # J
&

pp (ppp) mp
-.
& j ?
-. J
pp mp (ppp)

? -. -.
#
J J
(ped.) (simile)
(sos.) (hold) 43
{
57 54 18 -. 47 64

J
&
ppp

# n
? # ?

&

-.
(ppp)

#
(ppp) ppp
-.
? <#>ww J
#

{
60
46 81 -. 46 12
4
& J

mp
-.
? #

& ?
J

(ppp) mp (ppp)

? w # -.

J

44
{
63 12
4 34
&

#
?

&

(ppp)

{
64
43 81 -. 48 13
4
& J
p

& # j
-.

(ppp) p (ppp)
? -.


J

45
{
67 13
4 94
&

& #w

(ppp)



?

{
68
49 81 -. 12
4
& J
pp

-.
& #




J

(ppp)

pp
-.
?
J

46
{
12
4>
r.h.
58
, > # OOOO
70 (poco)

, # O-O
OO O OO-OOO , >
& # OOOO J
- >
(ppp) (somewhat freely, uneven)
,> ,
OO O-O OO-OOO ?
& -OO J
> >
(poco)
l.h.

(ped.)
(sos.) (hold)

{
71 58 15
16 88
&
>. >. > >. >. >. >.
9. . .
9

U
l.h.
? b n n
b b n b b
r.h. l.h.

b
? b
#
<> >.
fff
>. >. >. >. >. . . . p dolce

pppp subito
ped. (freely, sustaining)
(1/2)

47
 poco rit. echo e=130_140

15
8 (off-stage flute) let ring

{
Flute

88

pp legato
73
r.h.

&
J J
ppp "bells" (ppp) pppp

? r.h.

# l.r.
p dolce
l.h.

(ped.)
(1/2)
(sos.)
(keep the sostenuto pedal down during the final fermata, release the pedal once all sound has died away)

Note on off-stage flute: The use of the off-stage flute is optional, if used the flute should initially blend with the sound of the piano, as the piano dynamic fades away the
flute should become more and more audible, the last note played by the flute should be slightly drawn out sustaining over the final bar line, the flute should sound like
an echo of the piano resonance rather than a flute itself.

draft 02/12/16 | score 07/25/16 NYC

[Duration: 3-4']

48
{
IV. Shpinxes

<>
Calm and somewhat solemn q=90_95

18 r.h.b j 12
4 18
# l.r. n

b n n
& J & b n &
l.h. ' l.r.
pp sempre

-
sffz

&
b ?
l.r.

#
bb-
?
b

{
ped. (pedal freely, sustaining) (ped.) (simile)

<>
"ff" (1/2)
u.c. (hold) (u.c.)

18 b j 24 10
3
8 n b
b n # n
8
& J &
'
sffz pp sempre

? &
b

? n
#
J
(ped.) (simile)
(full)
"ff" u.c. (hold)
49
{
<>
10 18 j 13 27
8 8 # 8
#
5
b

b
& J
n &
'
&
pp sempre

sffz


?
b -
& b &
(pp)

?
J j

-

{
(ped.) (simile)
(1/2) (full)
(u.c.) "ff" (hold)

8 27
8 21
8
& b b

n

>
(pp)

n
? b
> #>
p

pp

& b
mp

?
b b n b
#
n

(ped.) (simile) (pp)
(u.c.) (continue to hold) 50
{
<>
9 21
8 18 b j 38 # 26
8

& &

J &
'
- .
- .
pp sempre

#
- bb
sffz

pp (echo)

<b>
?
b

n
(pp) pp (echo) pp pp

? n
. n
?
b
bn - # <>
-
n b

{

pp (echo)
(ped.)
(full)
(u.c.) "ff"

26
8 n n
b
12 b
.
- n
& b #
(pp)

n
pp (echo) pp

b

n
? ?
&

- .
? n b
#
?

pp (echo) pp
(ped.) (simile)
(u.c.) (continue to hold) 51
{
13 54
& n

# n
,
(pp)
-.
b -.
nb
b -.
? b ?

<>
b -.
ppp
,

? j n
# .
?
b b b -.
n -.
n n
<>
b n - -.

{
(ped.) (simile)
(1/2)
(u.c.)

14
45 ,3 3 3 3

& b


pppp
-.
? nb

(ppp)

? b
b -.
draft 02/17/16 | score 07/27/16 NYC
[Duration: 1-1'30'']

(ped.)
(u.c.)
52
 V. Thema, quasi-waltz (part I)
Leise, innig q=65_70

43

(right hand)

&
>
mf
ped. (freely, sustaining)

Note on texture: This movement invites the performer to trace their way through a maze/labyrinth of tones and textures, with the material provided find ways of
creating different dynamic intensities as if layering and folding sheets of sound over one another.

& b
b fi
j
mp
pp p

& <b> b
5

j r
> b
mf mp
p

53
10

r
5 5

& b r

pp >
mf mp
mp

13

&
5

b b
pp p

16
5 5
^ 5

& <b> b

5 5

r r b R
b >
p mf p f
pp

54
19
5

& <b> b
p >
mf

22

r
7

<b>
& j
p
p pp

25
r j
7 7

& j b b r
b
p p
pp
mp

55
28

& <b>
pp

31

&
b b
p
pp

34 84 34
5

& fi
j
b
b fi n
j
mp b
pp
pp p pp
mp

56
36
43 5 5

& r r
n
mp >
(poco)
pp
p

39
45
&
>
(poco)
p

42 54 84
5

& r
b w bW
-
mp (echo)

57
{
(part II)

44
43 fij 43 fij

& b
>
f pp

?
b l.r. b simile
p p

(ped.) (simile)

{
fij
47

&
b
>
(poco)
p
?
b
p

58
{
50

& r
<b>
b b
n
mp
pp
?

{
fij
53
5 ^ 5 fij 5

5
r
5
r 5
r 5
b
<b>
& b r
> >
f mf p
p mf
p
pp
?
b b
p p

59
{
56
7
j j
7 7
r
& r b b b r j
> b b >
p pp
mf pp mp mf
?

{
59 44

5

& w fi w
j
pp 9
p

? b
? #. .
b
ppp (as echo)

? ?

b
<> pp "like a shadow"

60
{
62 5 5
p

& ? b
w
. >
9

J
ppp (as echo)

b . b. . b.
mp ppp (as echo)
? & b>
. n.
. ppp
"trembling, brittle"

?
9

b

<> (pp)

{
(pp)

64
46 43 41
? <b>w

>
J "trembling, brittle"

&
ppp

(pp)
?


<>

61
{
(Variation)

66 14 34 fij
^
? & b
f pp

&
>
mf

?

? & b

{
<> b b p
(pp) p
(ped.) (freely sustaining) Note: The dotted lines connecting notes serve to connect/reveal the progression through the maze/labyrinth of tones
discussed in the opening note on p.53, the pianist does not need to hold everynote that is tied, the pianist should use
both hands during this "variation" section.

70 fij

&
b
>
(poco)
p

& b
b fi
j
mp
p

<b>
j 7
r ?
& b b
p pp b
pp
p

62
{
73

& r
<b> n b b
mp pp

& <b> b
5

j r
> b
mf mp
p

& b

{
b
p
pp

fij fij (this dyad played together, very deliberately)

76
5 ^ 5 5

5
r
5
r 5
r
5
b
<b>
& b r
f > p
>
p mf mf p
pp

r
5 5

& b r

pp > mp
mf
mp

& <b> & nfi

? ?
&

j

b b
pp b mp
p p pp

63
{
79
7
j j
7 7
r
& r b b b r j
> b b >
mf pp mf
p pp mp

&
5

b
b p
pp

& b
b

{
fi n
j
pp
pp p mp pp

82
45 44


5

& fi
j
w

p pp

^
5 5 5

& <b> b

5 5

r r b R
b > p
mf f pp
p
5 5

& r r
mp n >
>
(poco)
(poco)
p
p
64
{
85 44 34
b b
5 5
?
&
w p (echo)
mp

& <b>
b w
p > p
mf
5

& r

{
b w
mp

88

? <b> &

& r
7 7
?

j j r
b
p pp
R
mp p pp

?
<b>
&


(ped.)
65 off!
{
91 14
&

Quotation (Sonatina "adieu")

? # OOO
b
Note on quotation: Movement V can either end at m.91, or may continue attacca to the violin and piano miniature Sonatina "adieu"
O
< >
(the score can be found after page 97 of this score), The use of the on-stage violin is optional, if used the violin should enter onstage

during the fermata at m.90 (page 65 of the score). The piano will need to be quickly prepared with eraser(s) at the higher register of
the piano (see note of preparation in the score for Sonatina "adieu"), the violinist may either enter from off-stage or may wait and
enter from the stage itself, from whatever direction the violinists enters the miniature should begin as quickly as possible (not rushed)
after m.91, there should be no applause after or before the miniature, the movement VI should continue uninterrupted.

?
# OOOO
<>
sos.

draft 02/20/16 | score 07/29/16 NYC

[Duration: 6-7']

66
{
VI. Mobile-Chaconne (remde)

: ;
Romance (tempo 1) e=100 Prelude q=50_55 Furioso (a little slower)

3 5 <>
41 43
mp
>
16 4
5
^ U j ,
#### # nnnn n # w O # # # #
& # n . . #.

&

<>
sffz

#- - -
(somewhat freely)

OOO , b
"methodically"

? #### # nnnn n U # #
# J R & n # #.
J >
pp "hushed"
>. p dolce
mf

j r
? #### # nnnn n
# n

ped.
(1/2) "ff"
(sos.)
"f"

Note: Pages 67-71 recapitulate material from the opening of the first movement, movement VI should begin as if starting the entire piece over, from page 72 onward the
new material serves as an alternate ending or perhaps an alternate pathway through whitch the piece begins to progress.

67
 : ; : ; : ;

{
p pp

>.
3 >
7 6 5
>. >.
4
4 >.
Kr Kr , Kr
n
n # #. #
# # # # n # #. #. #. # #. #. #. #
& #. #. . . # .

mf mf

& n b n b n.
n. .
>.
ppp : ;
(ped.)
"f" "ff" "f" "ff"
u.c.
"f" "ff"

: ; : ;

{
ppp mp
>
2 > > >. >. >
6 7

4
7

,#
5
# # # # # n. n #. # . .
# #
& . . . . #. #. #. # #. #. #. # #. n #

mf

# n bn.
n
& n. n. n.

: ; > n.
mp mf >
mf

(ped.)
"f" "ff" "f" "ff" "f"
u.c.
"f"

68
 : ; : ;

{
p

3
4
6 > 5 > >
<#><#>#
7
7
# # >.
. . #.
# #. # #
mf

&
n
b #. #. #. #. #
#. #. #. #. #. #. #. #. # #. #. #.

n . n .
& n n n . . n. . n.
n
ppp : ; pp : ;
ped.
"ff"
(u.c.)
"ff"

: ; : ;

{
ppp mp

44 > 6 7 > 6

8
n
&
# #. n. n n n # #. # #. # # #. # #
. . #. #. #

n. n. n. n.
mf
n b n
mf
n. n n
& #. n. b . . n. n. n . . n.

> > > .
: ; mp
>
: ; p : ;
sffz
ppp
(ped.)
"f" "ff" "f" "ff"

u.c.
69
 : ;

{
p ppp
>
3 , > >
42
5
>.
4
7

# # mf Kr
9
. # # # # n # . # # # # # # #. #. # #. #. n.
& b . . . . .

n .
& n.
n. . n .
: ; mp
ped.
"ff"
(u.c.)
"ff"

: ;

{
mp ppp

3
4
> 5
>.
> 7 >
47
#
6

mf K
11
r ,
. . #. # # #
# # ## # # n # # # # # # # # #. #
& . #. b # . #. . . . n.

n
mf mf mf
& #. nn. n. n. . n. nb.
> > n. > n .
ppp : ;
>
mp
(ped.)
"f" "ff" "f" "ff" "f" "ff" "f"
u.c.
"f" "ff"

70
 : ;

{
mp ppp

7 >
>.
> >
46
5 7
12
4 #. # # # # #
sffz K
n
r
# # # #
& . . . n # . #. #. . . #. #. # #. #. n.

n .
#.
mf sffz
n n. bn. n bb. n.
& n. .
> > n >. >
mf
ppp mp
ped.
"ff" "f" "ff" "f" "ff"
u.c.
"f" "ff"

{
mp ppp

6
4
> >. >.
5

Kr Kr
13
#. # # # #
#. nn bn
mf

& . . &
r.h.
n
mf

& #b nn b n. n. . ?
>. >.

>. ppp mp

(ped.)
(slowly lift pedal) (off) "ff" "f" "ff"
u.c.
"ff" "ff"

71
{
(tempo 1) [off-stage viola, see note in preface]

14 5
16
#### #
& #

? #### # U
# J [13''] Note: mm.14-19 should each be followed by a fermata/rest, keep the pedal down throughout, if the off-stage
viola is being used these moments of silence will slowly be filled with the resonant sound of the viola itself.

pp "hushed"

? #### # j
#

{
(ped.) (hold)
(u.c.) (hold)

15 2
16
#### #
& #

? #### # U
# J [8'']
(pp)
j
? #### #
#

(ped.) (hold)
(u.c.) (hold) 72
{
16 8
16
#### #
& #

U
? #### # J
# [5'']

j
(pp)
? #### #
#

{
(ped.) (hold)
(u.c.) (hold)

17 2
16
#### #
& #

U
? #### # J
# [3'']
(pp)

j
? #### #
#

(ped.) (hold)
(u.c.) (hold) 73
{
18 6
16
#### #
& #

? #### # U
# J [2'']

j
(pp)

? #### #
#

{
(ped.) (hold)
(u.c.)

19 14
32 Recitivo (freely not too fast)

&

molto rit.
j
& n -
attacca "Quasi-stretto"

4 3 4 3
p decresc.
?

(ped.)
(full)
74
{
Quasi-stretto e=140_150
[off-stage viola cuts off on the downbeat of m.20]

21 38 18 68
20
8 r.h. ^
j
& b n
-

sffz pp
r.h.

r.h.

j
& #
J
ppp "bells" l.h. > ppp j
?
? # pp (a little more present)

<> J

{
ped. (pedal freely)
p
(1/2)

25 27
8 28 38


& b -
>
mf pp

& J J

(pp) (pp)
?


(ped.)
"ff"

75
{
^
28
81 21
8 28
j j

& b-

mp pp
p (more and more present, cresc. poco a poco)
j j j j

&
j
J
> b b
> (p)
#
j
?
l.h.

? j
<>
n l.r.
J

p (cresc. poco a poco)

{
pp (ped.)
(1/2)
"ff"

31 33
8 <> r.h.
#>
& & J

j l.h.

&

b
j
mp (cresc. poco a poco!)

b
?
n b
? j
n j j
b n l.r.

76
{
<>
1
8 21
8 38

>
n b n
32
#>
r.h.

# # # #
& # # n n & n b n n n b n #

l.r.
mf (simile!) sffz pp
>
b
l.h.

b
# j

& # J
J
>

pp
mf (simile!)
? j n
l.r.

< > #
?
# J
#
J

{
(ped.)
(1/2)
pp
"ff"

35 30
8 <> (mf)
#>
& &
J

pp molto cresc.!

& j
>
>
b >
bb #
mf
? j j ?

n n b bn b nb nb b n
b > n
pp molto cresc.!
J
mf
77 (ped.)
off! "ff"
{
27
8 <#>
f
# n n n
n # # n n n n
36
j >
# # # # # n n b
& # # # # #n # & n b n n
#
cresc. poco a poco l.r.

& j j
>

b> b #

cresc. poco a poco
f
?

? J
b n
f

{
l.r.

37 24
8 <> (ff) 81
n n> b b n
#> #
& # j &
l.r.
cresc. poco a poco ff

>
& j j j ?

>j
ff
cresc. poco a poco j
? n n b ? n b
n b ? b ?

b J J b b J J b n b
n J n J J J
<> > l.r.
pp
78 ff
{
21 81
8
fff cresc. poco a poco

39
# # # #
sffffz
# # n & n n n n j
n b n b b
&


b
> J
b b #
>
? n n b
J

l.r.
fff cresc. poco a poco sffffz
>
b
?

b b j ?
n

n j
<> n b n
J J

{
>
(ped.)
off!

41 3
16
#### #
& #

? #### #
# J
(pp) "hushed"
? #### #


#
draft 02/20/16 | score 07/31/16 NYC
[Duration: 4-5']

ped. 79
{
VII. Empfindsamkeit Stille
1. Romance : einfach, semplice e=100

18
8
#### #
& #

? #### #

J
J

J
#
>
>j

pp "hushed"

? #### # j j
# # #

ped. (pedal freely)

u.c. (hold)

Note of texture: The material from mm. 1-5 should be performed very softly "hushed" as if sounding from very far away, simile movement 1 m.1

80
{
2
#### #
& # #




#

? #### #
J

J
# > J J
(pp)
>j j
? #### # # #j j #
# #
#

{
(ped.) (simile)
(u.c.) (hold)

3
#### #
& #



#

? #### #
J
# J J

j
(pp)

j j n
? #### #

# #

81
{
4
#### # # n
& #




n

? #### #
n

J J
#
j
? #### # # # n #
j
(pp)
#
# #

{
(ped.) (simile)
(u.c.) (hold)

2. Bells q=60_65

5 38 18 64
n n>
r.h.
#### nnnn
ppp
# #
& # J n

n
U mf (sustaining sounds from mm.5-6 should continue to reverberate throughout m.7)

? #### # j nnnn n
# # n
#
#
(pp)

? #### # ? # ? nnnn n
# # J n
u
>

p
(ped.) (freely simile)
(1/2) 82
(u.c.)
{
8 13
4 >
r.h.

>
(poco)

l.r.
&
b >
l.h.

(mf) p pp pp

#
?
p

&
n l.r.

l.h. p pp l.h.

? b b
pp

{
(ped.) (simile)

9 25
8 > 23
8

&
n >

mf

p

b b
& J
mp

? bb
pp

83
{
23
8
sfffz sffz
10
4
#> # >
10
b
&

n n

(p) ppp
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
<b>bb b n w
& J
pp p > 3 sfz p (p)

? n
?


<> >
b

b

{
ppp mp (start the trill slowly/quietly during the fermata, then continue)
(ped.) (simile)

11 10
4 >sfz mf 21
16
>
mp p pp

#> b
& n b n #

<>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~

& J J
(p) 3 (p) 3 3 (p)
>3 (p) 3
>j
? b

? ?

b <> b
J
> >
mp mp
84
{
12 21
16 p pp
13
8w 84
b
l.h.
r ? nw

&
n
<>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
ppp
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ pp

n
& J
3
(p) (p) 3 ppp

? # bn

?
<>
J

{
pppp
(ped.) (simile) mp

3. Thema (echo) q=65_70

14 84 44 34

(placed together, very deliberately)

?
5
r
7
r
5
j
5

j
b b
r.h. pp (pp) (echo)

5
?

r j
5
&
>
(ppp) p (pp) (all sounds ringing)

l.h. pp
?
5

fij
(ped.) (simile)
b b
(1/2)

85
{
16
43 (always as an echo)

n. b.
n. #.
&
ppp (ppp)
44
? r
7 7
r Kr
b b b pppp

ppp pp

(pp) (echo)
? 5 5
r
b b
b ppp
(all sounds ringing/sustaining) pp pppp

?
5
j
b n
(pp) ppp

ppp pp

(ped.)
(full) (1/2) (full) (1/2)

86
{
19 44
& n. n.
(ppp)

?
5 5

fi w
j

pp
w
ppp

? j r
b
5 5 5
b
5
j j
ppp pp 5 b
pppp pp pp

pppp
?
5
r
5
j r
n b
pp ppp

pp
(ped.)
(full) (1/2)

87
{
22

& b.
(ppp)
34
?
5
&
b b
pp (echo)
?
7 7
j r

ppp b b
pp (echo) pppp (echo)
?

(ped.)
(full)

88
 4. Lamento (same tempo)

25 34 (simile, as an echo)

& n b b
(ppp) "simply" (this descending scale is a continuation of m.7 "Bells" and concludes in m. 33 on middle C)

(ped.) (hold)

28

&

b

31

&
b

>
(poco)

89
{
5. Nepenthe q=90_95

18 b<> 12
4
n
34


J l.r. n
& & &
pp sempre

-
sffz

? &
?

bb-
?

{
(ped.)
(full)
(pedal freely, sustaining) (ped.) (simile)
(1/2)
"ff" u.c. (hold) (u.c.)

18 b<> 24
8

n

36
J

n
& &
sffz pp sempre

?

&

? n
(ped.) (simile)
(full)
"ff" u.c. (hold)
90
{
10
8 18 <> 13
8


#
38

J
b
&
n & &

sffz pp sempre

(pp)

& b -

?
n -

{
(ped.) (simile)
(1/2) (full)
(u.c.) "ff" (hold)

41 27
8

ppp (as echo)
b
& b n
(pp) 3 3 3

n
>
&
?
mp

(pp)
? b n
> n

(ped.) (simile)
(u.c.) (continue to hold) 91
{
18 <>
(this melody should come forward from the rest of the material in mm.42-46, it is notated in a smaller

21 38
font to set it apart visually, the text is un-sung/spoken from Schubert's "Erstarrung" [Stanza 5] Winterreise)
42
8
p "song-like"

& # n n
j
& J &
J

b - .
mein hertz ist wie er - stor - ben kalt starrt ihr sffz

?
b
&
j

(pp) pp (echo) pp (p) Bild

? ? n
. n
b
-
b - b <>

{
pp (echo) pp
(ped.)
(full)
(u.c.) "ff"

45 26
8 b n

pp (echo)
n
& J
(pp) - . pp
der fleisst auch

&
J
? n
J
da - rin schmilzt je das herz mir wie - (pp)

(p)
?

?
n
pp
(ped.) (simile)
(u.c.) (continue to hold) 92
{
46 26
8 (p)

(p)

j
&
ihr bild ihr bild da - hin

? b ?

ppp
,
(pp)

-
n.

?

?
n

b b -.
<> -. -.
(ped.) (simile)
(1/2)
(u.c.)

{
47
41 13
4 (freely, folk-like) ,
&
w OOOO
mp
(hold these notes down, creating the cluster at the end of m.48)
? b
n .

<> -
(ppp)

(ped.)
off
u.c.

93
{
6. Quietus (furioso) q=55_60

49
46 (hold with notes with the r.h. the l.h. should be resting/gripping on the left side of the piano off the keyboard) 41
& ~~~~ OOOO

Kr Kr Kr
Kr Kr Kr Kr
5 7 6 6

/
ped.
"ff" "f" "ff" "f" "ff" "f"
u.c.
"f" "ff"

{
Note on texture: This pedal material is very similiar to m. 3 "Furioso" from movement 1, the pedal noise should be very violent both sonically and visually, the pedal
noise should excite the resonance of the piano to sustain/echo.

51 54 14
& ~~~~ OOOO OOO

Kr Kr rK Kr

Kr Kr6

7 6 5

/
ped.
"ff" "f" "ff" "f" "ff" "f"

u.c.
"f" "ff"

94
{
53
45 42
& ~~~ OOO OO

Kr Kr Kr Kr Kr Kr Kr
7 6 5

/
ped.
"ff" "f" "ff" "f" "ff"
u.c.
"f" "ff"

{
55 34 44
& OO ~

Kr rK
Kr rK Kr rK Kr rK Kr
6 6 7

/
(ped.)
"f" "ff" "f" "ff" "f" "ff" "f"
u.c.
"f" "ff"

95
{
57
43 (both r.h. and l.h. should now be bracing the sides of the piano, just off the keyboard)

&

Kr Kr Kr Kr Kr Kr Kr
5 7

/
ped.
"ff" "f" "ff" "f" "ff" (slowly lift pedal) (off!)
u.c.
"f" "ff"

{
59

&

attacca "coda"

Kr Kr Kr
5

/
ped.
"ff" "f" "ff" "f" "ff"
u.c.
"f" "ff"

96
{
7. Coda: Bookend II
Stay in a playing position with both hands gripping opposite ends of the piano just off the SONNET 126 - Shakespeare
keyboard, read sonnet 126 silently to yourself, as a sort of prayer or ritual before ending the O thou, my lovely boy, who in thy pow'r
60 last movement of this piece, release the pedal silently when finished.
Dost hold Time's fickle glass, his sickle hour,

Who hast by waning grown, and therein show'st
& Thy lovers withering, as thy sweet self grow'st.

If Nature, sovereign mistress over wrack,
As thou goest onwards, still will pluck thee back,
She keeps thee to this purpose: that her skill
TACET May time disgrace and wretched minute kill.

?
Yet fear her, O thou minion of her pleasure;
She may detain but not still keep her treasure.
Her audit (though delayed) answered must be,
And her quietus is to render thee.
()
()
(ped.)
draft 02/21/16 | score 08/06/16 NYC
[Duration: 6-7']

97
Sonatina adieu
Dedicated to Shuyi Guan
Violin and Piano
-

-
2015
Duration: 2
Peter Kramer
PROGRAM NOTE

This miniature duet was originally intended as a coda to a larger work for mixed quintet, but during the
composition of both parts this sonatina for violin and piano became the crux of the work while the quintet was tossed
under the table. The form adheres closely to the sonatina tradition (a miniature, often light-hearted and abridged
sonata form), while the subtitle adieux is a nod to Beethovens 26th piano sonata given the same subtitle. The
contents of this duet contain many of the crucial elements of the larger work for quintet, and as it stands alone this
short duet (formerly coda) seems to be waving goodbye to those sounds that have now been left behind unheard.
 PART I (exposition) q=50_55
NOTE ON PIANO PREPARATION: notes D7 through A7 should be muted with an eraser, by jamming
Sonatina "adieu"
the eraser between the indicated strings and the metal strut positioned above them, this should result Dedicated to Shuyi Guan
in a toneless sound with very little audible pitch remaining.
Peter Kramer (b.1989)

18 13
8 88 13
8

(ricochet)
3
........ 5

(near the tip) / flautando / s.p.

Violin & j
> .
-
-.

**see note
fp ppp pp

{
186 *see note
(do not lift bow, durring bracketed ties)

13 88 > 13
fp

8 6 8
5

b
&
J b
> #

sffz pp ppp pp

Piano

? n

(una corda freely) (1/2) (half pedaling does not dampen all previous sounds) (1/2)

*square noteheads denote a "muted/prepaired" note in the piano with an eraser, the sound will be muted note fully pitched. all sffz gestures should
produce as much sustaining sound in the piano as possible, extremely percussive!
**arpeggiate freely either sustaining both notes or strumming them independently as a guitarist or lutinist would.

Copyright 2015
 13
8
SEMPRE: (near the tip) / flautando / s.p.
o ........ 38


4 5 5 5

& -

Vln.
#> b
-.

IV

pp fp ppp

{
13
8 38
# 6
5 5

> 6 6 6.
& -
>6
fp mf p

Pno. pp
? ?
& #
=
5

38 88 58
(off!)

5 5

&
j

Vln.
# -.

II mf
III

pp IV

{
38 9 5
88 6
58
6 # 6 #6 n6 n6 # 6 6
5 3
n
b6
b

n
& #' # n
> ppp n
-. p
ppp fp sffz pp
Pno.

J

(dashed slurs denote that a group of notes should be heard as a single phrase)
ppp 3

(full) (1/2)

2
 PART II (development) same tempo
58 o
81 13
8 o o 38

3 5
o o o o oj
7 5

Vln. & n > b.
#

n -. IV III

IV IV
IV III III IV
III III III
pp III
p

{
p ppp

58 18#6 13 6
> 38
8
5

6 # 6 6 n6
5 5 5


n

J b
& # - - #>
Pno. p pp fp ppp sffz pp fp

?
(as echo)

=
(full) (1/2)

38 21
8 58

10
o o o o o o o o o oj
9
>
III IV III IV

Vln. & b

pp III II III II

{
fp ppp

38 21 b 58
5

8 b

& # >

+
mf

Pno. (mute the string at the beginning of the winding, nearest the player side of the piano)

?
bW

p
>
(1/2)

3
 PART III (recapitulation) same tempo
58 o ........ 81 13
8 88

12 > 5 9
o
3

& -

n b b n b
> .
Vln.

bO
>

III III
IV
IV IV III IV III IV
3 fp
mf p pp

{
pp fp ppp

58 1 13 88
6
6 8 8
5 3

J b
&
ppp
Pno. pp ppp sffz pp

=
88 13 81
(full) (1/2)

>
8
9

15 9 9

b b n b. .
& b b n B n .

Vln.
n b b b n
IV III IV
> III >
pp p pp fp mf p

{
88 13 81
(slightly after violin) (slightly before violin)

>5
8 # 6
5 5

# 6 6 6 6
& #
- >- >- >

>6
p fp
ppp p mf p

Pno.

? n & ?
J
5

(off!)
4
 >o o >
81 13 21
5
9

# n.
17 n 8 o . 8
o o o o o #. . .
. b. n.
Vln. & . . J
I III I II II
p pp I
fp

ppp fp ff

{
81 13 21
5 >
# 6 #6
8 8
6 6 .
5

&
p fp pp pp ppp

Pno.

?
#
=
21 38
(off!)

8 o
9

19
#> . b. # #
&

Vln.
.
pp (mute sound!) fp pp

{
(pick up this gesture from the violin in m.19)

21 > 38
86 n 6
9 5

6 b 6 b6 6 b6
& > > n
f fp ppp fp >
(poco)
Pno.

p
? j
b
5
(off!)

5
 38 78 81

9 5
20
o o

Vln. & b b
b n # b n
pp

{
p pp

38 78
5 3

81

&
#
p ppp
+
Pno. (mute, simile m.10)

b>
?
5 (as echo)

& b
b b >
>
=
(poco)
mf

81 13
8 b - ........
ord. bow position

22 PART IV (Coda)
U
Vln.
& J
5 3
pp ppp

{
18 6
(create a sound here that stands out from the s.p. sound of the

13
(no ritardando!) rest of the piece, however the sound should still be rather distant)
U
8 >-6 >-6 6 -6 -6 -)
& J J R

: ;
f mf mp p pp Draft 06/05/15 | Score 06/17/15
Pno. sffz
Evanston, IL

&

(as echo, not a gradual dynamic, rather play within the sound of the previous note)

(full) (off!)
6