Contempus

Teacher's Guide

Contents

Grade 1
• Valeria Kukhta: Barbarians dance (2021) - contempus commission
  Gundega Šmite: Shadow Clock in C (2014)
• Iosif Valette: Sliding like Bach No.1, Μοve on. No.7 (2020) - Lilliputies -- contempus commission
• Gérald Pesson: Une pensée pour la mer Égée (2008)- Musica Ficta 1

Grade 2
• György Kurtág: Elbows, Flowers we are frail flowers (1973) - Játékok vol.1
• Alfred Schnittke: Kinderstück (1974)
• Arvo Pärt: Fur Alina (1980)
• Friedrich Cerha: In Dieser welt muss man zornig werden oder Woher nehmen die erwachsenen ihre Gleichgültiggkeit (1964)- Klavierstücke für Kinder oder solche, die es werden wollen.

Grade 3

• Luciano Berio: Brin (1990)

• Helmut Lachenmann: Filter Swing No.5,(1980) - Ein Kinderspiel
• Gustavo Gini: Movimientos (2021) - contempus commission
• Wanke Otto: Ghost Notes (2021) -- contempus commission

 Grade 4
• Hana Ajiashvili : 3 Pieces after 3 Beloved Paintings by Joseph Hackmey (2020) - contempus commission
• Morton Feldman: Ιntermission I (1950)
• Alexis Porfiriadis: Piano Puzzle for one or two piano players on one piano (2021) - contempus commission
• Vitaliy Kyianytsia: 5 pieces for piano (2021) - contempus commission

Grade 5
• Georges Aperghis: Secrets élémentaires no.1, no.4, no.5, no.7 (1998)
• Beat Furrer: Voicelessness (1986)
• Harris Kittos: Ètude 1 (2021)
• Stefano Paparozzi: Mandala (2021)

Grade 1

Valeria Kukhta - Barbarians dance (2021)

Commission by Contempus

Analysis / Concept of the composition
'The composition "Barbarians dance" is intended for children 6-9 years old who are just beginning to learn to play the piano. This piece is designed to make learning on the instrument an exciting action. The child should imagine that he/she is a savage, barbarian and the piano is his/her drum. Now he/she can act out a theatrical scene, using the opportunities of his body (shouting) and exploring the opportunities of his/her musical instrument (playing on the keys, tapping on the piano body, using the bouncing pedal sound). In such a playful way, we introduce to the child an extended interpretation of the instrument and the musician.' V.K.

 The piece alternates between shouting /playing at the lowest register and on the body of the
instrument. It has a dynamic character throughout that reaches a climax at the end of the piece (use of accelerando and fff dynamic).

Music practice strategies
It is advised that at the first stage of learning the teacher does not show the score to the student, but begins with the explanation of its theatricality. Questions that will amuse and encourage the child to explore by himself, like ‘how would a savage shout?”, and ‘how can we make the piano sound like a percussion instrument?’’ can be the introduction of this piece. The teacher can also talk about the notation of the percussive sounds by asking questions and providing some examples of different notations used by contemporary composers. Simple rhythmic exercises – with crotchets and quavers - clapping or playing on the body of the piano are also suggested before showing the score- so when the score is shown the student has only to practice the written notes. Pedal experiments, such a pressing abruptly, are also fun to do for preparing the pedal action at bar19.

Interpretative suggestions
A steady pulse is very important for this piece. A slow tempo is more difficult to keep but this would be the challenge for the student. Metronome can be used for checking ( before and after the piece has ended). Pianists are hesitant to use their voice and a child may be shy. In order to be convincing in his /her interpretation it is vital to create a story of his/her own. The teacher can also initiate a discussion  about the music theatre in contemporary music – by explaining first that a concert is always a listening and a visual experience for the listener and consequently includes a certain ‘theatricality’ produced by the body movements of the pianist. In new music, this aspect attracts many composers to think beyond the sonic and demand from the performer a new set of skills.

Gundega Šmite - Shadow Clock in C (2014)

Analysis / Description
The composer aims at the immediate activation of imagination through the use of parallel graphic representation of sound. The pianist, is able to get, by one glimpse, the sense of an overall form of the work and is liberated from concerns of “the right” way of playing since the visual image resembles a playful activity. The story behind the music concerns the sun’s track and the forming of shadows that are created at different times of the day. The object of the shadow is the note “C” while the shadow is represented by clusters of white keys. The work starts with clusters of very long duration which later, in the middle of the work, gradually diminish and then become gradually longer.

'This work may have two or three parts. The first part is the gradual long/short duration as it is written. In the second part the pianist is asked to imagine that he has the power to alter the sun’s track and create his own track forming the duration of clusters as he chooses. The third part is the repetition of the first part and it is optional.' G.S.

Music practice strategies
In a technical level the student comes in contact:

-  With the sound of clusters on white keys.
He has the possibility to experiment with the energy and the technique (fingers, palm) to produce a uniform sound. In case it is not possible to produce uniform clusters with many keys because the pianist's hand  is too small, they can be played with both hands. In this case it is necessary to focus on the different dynamic of the two elements (one key, clusters).

- The acoustic sense of sounds/ differentiation between longer and shorter sounds. It is important to note that holding a sound for such a long time ( 8 seconds) in the middle of the play is rarely met in the classical repertoire of preparatory and elementary level. The inaction on stage - as in not producing sounds - is usually causing embarrassment to pianists trained only in classical repertoire. In contemporary repertoire however, because of the new roles of rhythm and time, long pauses are very often encountered where the interpreter is asked to stand still hearing actively the sound until it is absolutely lost.

 - Space notation with use of seconds
The organic development of duration without measures. This movement reflects to the measures and they, accordingly, become smaller or bigger in size.
- The abrupt alternation of extreme dynamics (sforzando followed by piano)
- The open form
The pianist becomes a co-composer by creating his own version of the second part.
- Gradual subtraction and addition of pitches /ascending and descending scale.
The structural material of the work is based on the gradual substraction/addition of pitches in the cluster. The pianist can initially experiment with the creative exercise which is based on this compositional process (see Basic Tools/Pitch concepts) in order to achieve a deeper understanding of its structure.

Interpretative suggestions
The ascending or descending movement of the cluster must always be heard in a clear and uniform way. During practice, the scale must be played and be perceived by the interpreter as “a melody” that must be projected. In order to achieve a more acute hearing of sound it is proposed to play a cluster with long duration and then hear the sound intensely until it is totally died away.
The sforzando on the note C must be very strong in order to produce rich harmonics and short so it doesn't blur the movement of the cluster.
The pedal must be sustained during the whole work. If a young pianist can not reach the pedal, then a pencil can be put on the back side of the pedal to keep it pressed.
Dealing with the above two examples the student develops also other broader musical skills:
- the importance of intense hearing of sound after playing a key ( acute hearing)
- the energy that is necessary in order to produce a sound (differentiation of sound colours and control)
- the importance of understanding the structure of the work and the hierarchy of parameters
- the restructuring of the composing/creative process (activation of imagination)
- the acute observation of every detail of the music text
- the familiarity with the instrument (dimensions - reactions)

 Video link - click here

Iosif Valette - Lilliputies (2020)

Commission by Contempus

1. Sliding like Bach No.1
2. Μοve on.. No.7

Analysis / Description
'Lilliputies are intended for the piano classes of elementary to intermediate-level students. Young pianists will flip through short, one-page stories expressed differently from the other pieces. They will come across notes that are not always round, they will discover the 'distant'
piano keys, they will hear coexisting notes sounding differently, they will find beauty in the sound just by pressing the right, damper pedal.
Although the essential ingredients of a classic work are present, pianists must embark on an adventure to figure out how to cross their thumbs, or how to extend their palm and play with it, or learn to 'quicken' in an accelerando and 'slow down' in the ritenuto.
They may also find how a glissando is made by sliding with the nail, or how to repeat the same note quite fast. And if they all look neat in moderation and rhythm, they will sometimes have to accent on the 'weak' beat, or combine the two eighth-notes against other three, or even hit a little note in excess..'
Iosif Valette (extract from the Forward of the score).

The work Lilliputies consists of collection of miniature pieces. Contempus presents two pieces from the collection.

1. Sliding like Bach, No1

Analysis / description
In the first half of the piece the L.H has a kind of melody reminiscence of the Pachenlbel’s Canon in D major, while the R.H ‘comments’ by repeating the note C in different registers . In the next half - starting with the change of dynamic (from pp to p ) there is the addition of two succeeding notes in the L.H and the nail glissando, as a variation of the first motive in the R.H.

Music practice strategies
In this miniature the student will familiarise with time/space notation. As there is no metre he has to count the seconds and then proceed by reading the continuous line following the note that indicates the duration ( 4 or 2 seconds accordingly). In the beginning, the student can focus on learning the L.H by counting the seconds while playing. The nail glissando could be difficult even painful for the young student. In this case he/she can use a cloth around his/her finger to achieve a smoother and more uniform glissando. Attention should be paid in sustaining the piano dynamic through out the glissando.

Interpretative suggestions
Use the left pedal to achieve a softer sound.
Decide the duration of the fermata at the last system. It is suggested to take moments to really listen to the harmonics you have created with the sustained pedal. You can create the sense that the piece has finished and then the last gesture that is forte and short comes as a surprise to the listener.  Focus on the sound quality of the low dynamics of the piece and the fragile balance between the two hands.

2. Move on, No7

Analysis / description
The piece is written in 7/8 metre with a repetitive rhythmic structure that lasts until the one before the last measure of the piece. The notes in the first measure form a cluster (F,Gb,Ab) which is gradually expanding by the addition of pitches in both the right and left hand (higher and lower register). The piece develops through this intervalic expansion combined in the last three measures with a crescendo. The rthythm in the last measure is an organic accelerando combined with wide interval leaps acting as the 'resolution' of the piece.

Music practice strategies
It is suggested to spend sometime studying the one measure rhythmic structure before going to the instrument. The 7/8 metre is divided in 2+2+3 and the student can get the feeling of this metre by clapping.The teacher can conduct and ask the student to play one note in each beat ( that means, according to the piece, to play the notes Gb, Ab, Gb of the Right hand).
When he sits on the piano one option is to count in semiquavers in a slow tempo - it might be easier to regard the last semiquaver of each beat as an apoggiatura to the next one.
Concerning the pitch material, it would be beneficial to play the notes of each measure in chords (all the notes of the measure in one chord or split it in more chords where the leaps are wider) so he/she can get the idea of the harmonic expansion.

Interpretative suggestions
The limited pitch material combined with the rhythmic ostinato creates a short of a trapped feeling to the listener -like being in a labyrynth and trying to get out. As the piece progresses with the wider leaps the anxiety develops. It is crucial to focus on the sound quality (articulation &dynamics)  to project this progression.

Gérald Pesson - Une pensée pour la mer Égée (2008)

Musica Ficta 1 - Analysis / Description
This piece offers the rare opportunity for a beginner pianist to play in all areas of the instrument. Although it is written in a conventional time signature (4/4) at the same time it provides the context for an improvisational -freer sounding of the rhythm through the alternation of tempi, ritardandos and fermatas in all phrase- endings.
Structurally it is divided in to two sections:
Section A: b.1-6 , phrases: b.1-2, b.3-4, b.5-6
Section B: b.7-12, phrases: b.7-8, b.9-12
The elements that define the structure of the piece are:
- Use of all registers
Every two measures there is an octave change in the phrases of the R.H
- Limited range within of the phrases
While the piece is carried over almost the entire range of the instrument, the melodic phrase always move stepwise with the lowest and higher notes never exceeding the 6th note interval between them.
- Fermatas
There is a fermata every two measures (except measures 9-12), which mark the the end of each phrase.
- Tempo alternation
There is a change in metronomic indication every two measures, except for the last phrase in which the two-bar phrase is extended to 4-bars with an indication of molto ritardando. The last phrase has a coda-like character.
- Ritardando
Each phrase/section ends with ritenuto except for measures 7-8 which forms the only ‘suprise’ of the piece by reversing the sustained fifth chord on the R.H (instead on the L.H) and introducing a contrasting staccato short ‘episode’ in the L.H.
- Tonal reference as a base through the interval of the 5th chords on the L.H, in contrast to the atonal movement of the R.H.

Music practice strategies
This piece is notated in a way that if the pianist follows exactly the text (metronomic indications, ritardandi, fermatas) the resulting sound will give a sense of 'floating' free metre. The technical challenge lies in performing the ritardandi organically as well as respecting the pauses between the phrases. Special attention should be given to the double fermata at the end of bar 5. Regarding the dynamic range, the pianist has to find the right balance between the fortissimo in bar 1 and the forte in bar 15. The next step is to practice the different diminuendi that result from the initial dynamic. (Fortissimo dynamic- ending in F, piano dynamic- ending in pp, Forte dynamic- ending in piano).

Interpretative suggestions
During the fermatas, the pianist must stand still listening to the sound (instead of preparing for the next phrase). This stillness and accute listening helps the pianist to decide when is the right moment to continue while it adds a sort of 'theatricality' to the interpretation.
The second fermata between bars 6 -7 can be quite long leaving a feeling of wonder hanging in the air.
A careful use of the right pedal would produce different timbres and resonances. It is suggested to use different pedal pressures every two measures (for measures 1-6). However, the alternation of the pedal should not "blur" the phrase line. In measures 7-8, the use of the left pedal is an option. It is recommended to experiment with the left pedal so that, depending on the acoustics of the hall and the piano, the pianist can find the right pressure to achieve the pianissimo in combination with the staccato.

Grade 2

György Kurtág - Elbows (1973)
(From Játékok vol.1)

Analysis / Description
First phrase: measures 1-2. Subsection: a. the first two (single) clusters / (Question 1 -Answer 1),
b. the next two 'patterns' consisting of two and three clusters respectively (Question 2 - Answer 2)
Second phrase: measures 3-5
Subsection: a. measure 3-4 / (Question 3 - Answer 3)
b. measure 5 - Coda.
The structure is based on the gradual addition of cluster sounds (up to the 4th cluster of m. 3), and gradual subtraction. The progression of the number of sounds/clusters in each figure is 1, 1, 2, 3, 4 - 2, 1, (2 or 1+1, since the last sound is heard as an echo of the previous sfz sound).

Music practice strategies

The work can be interpreted as a 'dialogue' , the character of which is left to the will of the pianist. it can be angry, sad, happy, funny or a combination of these. All clusters must have the same length and tempo. It is also suggested that the pianist experiments with the duration of the pauses; the extended silence between the sounds creates a more dramatic version. In order for the sound of the clusters to be uniform without missing some notes in between, the following exercises are recommended:
- Share the cluster to both hands to have better control and listen carefully to the sound. Then try to imitate this sound by using only the elbow.
- Focus on the listening and adjust the weight of the elbow on the highest notes. In the repetitions of the same cluster try to remain on the same position.

Interpretative suggestions

One can assign words to each sound/cluster to have a sort of narrative in the interpetation. In other words, to use one's imagination and emotions in order to express something with one sound. To achieve this, it is necessary to know exactly what one want to express from note to note, phrase to phrase. For example, the first cluster may express a question and the second an answer. It's important, however,  to have a specific question and answer in mind, and think of ones that are challenging and provoke intriquing emotions  (E.g. the common question 'what's your name?' will not have the appropriate emotional  weight and tone than the question ‘Can you keep a secret?’).

2. Flowers we are... frail flowers (1973), (From Játékok vol.1)

Analysis / Description
The work consists of seven sounds on the white keys divided into three 'phrases'. The first phrase consists of the first two notes and has the character of a question. The second phrase consists of the next three notes and is the answer to the question. The third phrase, consisting of the last two notes, functions as an ending (gives the sense of dominant to tonic).
All three phrases are descending. The idea of 'development' lies in the expansion of space: The first phrase consists of a relatively long interval, which expands on the final two notes of the second phrase. The two-note interval of the coda is placed on the top and lowest register. 

The durations of notes and rests are free in the context of the specific relationships/proportions that the notation suggests.

Music practice strategies
Play expressively all three phrases placing them in the middle octave to understand clearly the relationship 'question-answer-coda'.
The way we connect the sounds of each phrase, but also the sounds between the phrases is particularly important and will depend on the concentration on what we have to say through these seven sounds. As already mentioned in the previous work, the connection of the sounds is not possible without the use of a specific imaginary story.

Interpretative suggestions
The brevity of the work refers to the Japanese Haiku poems, in which something particularly important is said within a few words. Having a specific image or story in mind will help achieve good sound quality. We can use the story of the composer which is revealed by the title of the piece. The title 'Flowers we are…frail flowers' refers to the fragile, brief and beauty of human life, likening it to the life of flowers.
It is suggested to avoid a strong bright sound as the piece connects to a dramatic character. Absolute stillness (hands and body) for a few seconds in the final fermata serves to enhace the dramatic effect.
Dynamic variations will depend on the image/story the pianist decides to express. A composer's  indication of single dynamic does not mean that nuances cannot be introduced in order to support each phrase, much like it applies in classical repertoire.

Alfred Schnittke - Kinderstück (1974)

Analysis / Description

The piece is structured through the use of five elements:
- Gradual denser texture
- Descending scales (either chromatic or white-note) covering the interval of the fifth.
- Limited space of register (1,5 octave is used for the whole piece)
- Repeated tenuto notes
- Resonances produced by held notes of the scales or in a cluster (formed by the same notes of the preceding scale)

In respect to the pitch material the work could be divided into the following three sections:

- Section A: b.1-25
Subsections: b.1-6, b.7-12,b.13- 25

- Section B: b.26-49
Subsections: b.26-31,b.32-37.b.38- 49

- Section C:b.50-74
Subsections: b.50-54, b.55-60, b.61- 74

- Coda: b.75-78

Music practice strategies
The main contemporary technique used in this piece is the introduction of the negative arpeggio - i.e the gradual removal of notes from a held chord. As acute listening of each resulting resonance is required, It might be useful to practice by playing the cluster in a forte dynamic and carefully remove the notes one by one in order to listen clearly each change of the resonance.
Concerning the clusters, an even sound should be achieved. Except from playing simultaneously all the notes of the cluster, is suggested to have a slight accent on the highest note. Observe carefully the dynamic markings as well as the diminuendos. It is suggested to experiment with the lowest dynamic first in order to check if the resonances are hearable and then relate this dynamic to the whole.

Interpretative suggestions
The pianist is challenged to reveal the subtle nuances of the different harmonic resonances through the differences between the identical phrases. Each new phrase can be born out of the echoes of the previously held notes and perhaps this is the criterion on which the performer could build the sound levels of the work.
The tenuto repeated notes can be treated as a contrasting material to the legato phrases. In bar 69 the climax of the piece is indicated by the forte dynamic, the dense texture and the reversed motion between the two hands. In order to reach a forte dynamic - it is suggested to start the crescendo from the beginning of bar 67.

Arvo Pärt - Für Alina (1980)

Analysis / Description
The piece is written through the compositional process of gradual addition and subtraction of notes (from a two-note phrase in the second bar to an eight-note phrase in bar 8 and the reverse gradual subtraction of one note in each bar).
The process is combined with space notation, in which the notes are placed in certain positions within a bar and their duration is subject to the right proportions between the notes within the time space of one bar (rather than divisions of the metre). The black and white head notes indicate an approximate relation of short and longer duration.
The ending of each phrase is indicated by a white note, while the two-voice melody is played by both hands in close distance from each other, moving in parallel motion for the most part.
The piece's central aim is the manifestation of resonances, as the sustained octave in the befinning of the piece is held with the pedal throughout the piece, creating a resonating sound-world born out of the simplest means.

Music practice strategies
Creative exercise no1 of contempus (Pitch concepts/gradual addition and subtraction) is based on this piece. It is strongly suggested to begin with this exercise as it will allow for familiarisation with all the elements in an experential way.
The challenge lies in the connection of sounds - the line within the phrase which is slowly expanded has to have a sense of direction. Connection between the phrases can be achieved by projecting the gradual addition /subtraction of the notes with legato articulation. Expression has to be minimal, in order to achieve the spirituality required in this piece. Subtle nuances and acute listening of each phrase ending can be practiced in very slow tempo. The pianist is offered the opportunity to enjoy a sort of stillness ( a very common non-action in contemporary music) before moving to the next phrase.

Interpretative suggestions
The piece is quite open to different interpretations, depending on the choice of tempo, the character - for example, it could be more restrained, or with more direction and expressiveness. One suggestion, which the space notation implies, is to play the bars with the greater number of notes slightly faster - in other words, to perform an organic accelerando (which in the subtraction process it will change to organic ritartando).
The only change of pedal, after the last note of bar 11, in combination with the dissonant ending , gives a sense of mystery/ unfulfillment. For this reason, the pause between bar11-12 can be extended and the last four bars can be interpreted as a sort of coda.

Video link- click here 

Friedrich Cerha - In Dieser welt muss man zornig werden oder
Woher nehmen die erwachsenen ihre Gleichgültiggkeit
(from Klavierstücke für Kinder oder solche, die es werden wollen), 1964

Analysis / Description
The piece is structured through the fragmented use of the limited and contrasting pitch material, which ‘interacts’ with the resonances created by the sustained forearm cluster.
The material of the piece consists of four distinct elements, distinguished by their different /contrasting texture and use of register:
• The fortissimo two-note ostinato (Eflat-Dflat) in the left hand.
• The appogiagurated three-note motive on the black notes at the high area of the instrument (Bflat, Aflat,Gflat).
• The two-note motive an octave lower than the previous motives consisting of two white notes (A,G).
• The fragmented melody- like /white note pattern on the middle octave (played by the right hand).
The pattern consists of a limited number of notes covering the interval of a fifth (F-B).
All four elements/events appear with the same dynamic marking, rhythmic values and articulation but the order and number of the pitches is constantly altered through the irregular placing of crochet/quaver rests.

Music practice strategies
Separate practicing of the four elements is recommended. The appogiaturas of the three-note motive can be initially played as a chord (D and Bflat together etc) in order to familiarise with the distance between the appoggiaturas and the normal notes.
The pianist  should remain in a very steady pulse to achieve flow and coherence . This will be accomplished by never sacrificing the crochet rhythm of the left hand as well as counting the rests accurately. The overall tempo can be selected once it has been clear to the pianist in which speed he/she can perform the right hand octave jumps in places when there is no rest between the events (for example in the beginning of the second system, between the last note of the three - note motive in the highest octave of the piece and the next note - F - in the middle area.)

The greatest technical challenge of the work lies in the left hand,in which he/she is required to perform the notes (Eb - Db) with his / her 1st and 2nd finger while sustaining the silently depressed forearm cluster (D-Bflat) . The cluster is sustained throughout the entire piece creating a unique resonating effect. Contemporary performance techniques can often place the pianist in an uncomfortable body position and this piece is providing an introduction to unorthodox playing. Finding personal solutions that better fit on one's anatomy of hands/body - without altering the resulting sound- is a prequisite for contemporary music.To that end, if reaching the range of notes of the cluster is not possible, the pianist can think about the option of using both hands for depressing the cluster and then press the middle pedal for sustaining it. In this version, the pianist will free his left hand from the awkward position and might better render the explosive character of the work.

Interpretative suggestions
The composer’s indication ‘sempre staccatissimo and sforzatissimo” has to be interpreted with great attention. The piece requires from the pianist a lot of force and energy and it might be too demanding for a young student who hasn’t yet mastered the technique of producing forte sound by using his/her body weight.
In the last five - crotchet rests of the piece, the pianist is suggested to remain still, listening to the resonances produced.

Grade 3

Luciano Berio - Brin (1990) 

(from six encores)

Analysis / Description

The elements that determine the structure of the piece are:
- the successive repetition of a long duration note (Β-G#-D#-A). These pitches always appear with the same articulation (-) meaning tenuto, and in three consecutive repetitions.
- the appogiaturas indicate the beginning of a new phrase.
- The use of pedal:
• marks together with the appoggiaturas the beginning of the phrases
• remains extensively engaged creating subtle resonances.
• its non-use indicates the points where the texture is different (change of tone color).
- the limited pitch material of the piece.

The piece develops with the gradual addition of sounds that appear at intervals of the sixth (or third vice versa), semitone (or seventh) and fourth. The area of the instrument used is limited to two and a half octaves creating a ‘claustrophobic’ character, while the absence of metre contributes to the creation of a static atmosphere.

Music practice strategies
The main technical challenge of the piece lies in the counting of time values. Due to the absence of metre, the pianist is required to count each rhythmic value based on the smallest unit of time - the eighth note in this case. The counting must be 'hidden' visually from the listener so it doesn't  affect the sweet and static, as indicated by the composer's instructions , atmosphere of the work. During the first readings, it is suggested to use the metronome at ♪ = 128 to obtain a sense of speed.
At the musical level, the challenge lies in the performance of the very low dynamics (pppp) and the subtle differentiation of the sound color within them.
Regarding appogiaturas, it is suggested to study each hand separately. Notice how the L.H  always has an upward movement, so the hand can be tilted towards the thumb in order to achieve clarity. It is also suggested to study each appogiaturas without the pedal, in order to hear each (double) note clearly.

Interpretative suggestions
Pay attention to the  points where the pedal changes are the densest in terms of the pitch material - mainly in the appogiaturas. At these points, a clear, crystalline sound without accents is required so that the new pedal grip does not create blurry resonances. It is also suggested that the pianist experiment with different pedal pressures (such as 1/2 - half way, or 3/4 of the way), as the final result always depends on the instrument and the acoustics of the hall.
The speed of the single fast notes (grace notes) is a an interepretive decision. It is important, however, that they all are performed at the same speed, in order to enhace the structural coherence of the piece.
Another issue of interest concerns the phrasing of the work. In contrast to a classical music phrase- in which the long distance between two notes is emphasized by an expressive and faint crescendo while the end of a phrase by a corresponding diminuendo- in this work the expression is defined by the continuous maintenance of extreme low dynamics (pppp) and avoidance of any nuance.
The subtle sound-color changes ( through articulation and the use of pedal) is used only to indicate the change of the different structural elements (long-lasting note, appogiaturas, etc.).

Helmut Lachenmann - Filter-swing No.5 (1980)

(from Ein Kinderspiel)

Analysis / Description

The sections of Filter-swing could be divided as follows:
1st section: b.1-15
The material consists exclusively of a chromatic cluster covering the sixth interval (Db - Bb) in the middle range of the instrument. In each release of the cluster different notes are retained so that a 'melody' of harmonics is created.

2nd section: b.16- 49, subsections/ phrases: b.16-19, b.20-24, b.25-29, b.30-34, b.35-39, b.40-44, b.45-49.
The material in this section consists of the chromatic cluster of the first section - which can now only be played with the right hand - and muted chords with different notes and in different registers of the piano.
3rd section: b.50-54
Consists of a chromatic cluster and negative arpeggio (gradually releasing notes from a held chord). The last note of the arpeggio (Bb) - which is the highest note of the original cluster - is accented in order to create richer resonances/ harmonics that will result from the held cluster in the low register.

Music Practice strategies
1st section: b.1-15
In the first section, the use of the pedal needs special attention in order to be able to hear the sustained notes in the second and fourth beat of the measure. The constant repetition of the same cluster forces the listener to focus on the melodic movement of the sustained notes. During the first practicing sessions, it is suggested to play those regularly and continuously as a phrase -without the cluster -in order to hear clearly the melodic movement that will result from the held notes.
Section 2: b.16- 49
The addition of different chords in all areas of the instrument, in relation to the previous section where the pitches of the cluster remain, enrich the resonances and the accents that are created. The metronomic indication (♩=66) must be strictly followed in the second section, in order to allow time for the harmonics to be heard.

Note that this work cannot be performed on an piano that misses the sostenuto pedal.

Gini Gustavo - Movimientos (2021)

Commission by Contempus

Analysis / Description
As the subtitle suggests, the composition comprises seven little games for the young pianist. 

No 1 (measures 1-16)The first piece “Conociendo el teclado del piano (teclas blancas y negras)” Getting to know the keyboard of the piano (white & black keys) is a little introduction to the pattern of the keys. From the start, the students familiarise themselves with these differences by playing slow rhythms, introductory chords, and more contemporary clusters of grouped notes.
G.G.

The first three bars consist of three phrases of succeeding intervals - One note is added each time on each hand. This note- addition is coupled with augmentation in dynamic (p-cresc-mp-cresc). The next three bars are clusters following contrasting direction in each hand while the crescendo is continued organically and reaches ff. The last 6 bars can be divided to 3+3 and functions like a coda finishing in piano dynamic.

No 2 (measures 17-27)
“Buscando (a escondidas)” Finding (on the sly) is the next game. Here we show the student pianist that music can be written without a specific time signature, as if it were in a free tempo. Also, a change of time signature is introduced, from 5/4 to 4/4. Another aspect here is the little change of position of the hand, continuing with both keys, white & black. The student is presented with specific articulations such as staccato and accent.
G.G.

In this piece the register expands from the first unmeasured bar. A rhythmic ‘ostinato’ follows in bars 18-19 which leads to the Poco più moss section. Here the ‘coda’ is expanded both in length (8 bars) and register.

No 3 (measures 28-32)
The third piece “Hay alguien ahi? (son los armónicos!)” Is somebody there? (They are the harmonics!) Other contemporary techniques are inserted in this piece, such as pressing down the key without sound (for the harmonics to resonate) and also making key clicks without pitched sound, as the text explains on the score (hang over the keyboard (like gliss, without tuned sound, just the buzz of the keys).
G.G.

A ‘game’ for resonances where the pianist holds muted clusters with one hand and plays loudly in different registers.

No 4 (measures 33-52)
The fourth movement “Cascadas (de notas)” Waterfalls (of notes) is a little joke about the notes, with an “ostinato" in the left hand, introducing different notes and also alternating the hand position to continue with the techniques previously used. A rhythmic ostinato slowly dissolves- first by adding rests and then by replacing it with long (er) notes. The coda (last 3 bars) acts as a reminiscent of the ostinato.

No 5 (measures 53-67)
Game number five “Pedal (que lindo suena todo con él!)” Pedal (How nice everything sounds with him!) is a piece for all the possible harmonics to sound, leaving the pedal down during the whole piece. Also playing inside the piano is introduced, with fingers directly on the strings instead of in the keyboard. Chords that are created by the sustaining pedal, long notes and low dynamic. First in 5ths intervals (bars 53-57) and then more freely and expanding register.

No 6 (measures 68-82)
The sixth “La tierra (se mueve...es barro?)” The ground (is moving...is it mud?) This piece exercises the alternation of hands while adding some chromaticism.
G.G.

No 7 (83-108)
The final piece “Te acordás de todo? (de lo que tocaste)” Do you remember everything? (that you played?) is a final piece summarizing all the elements from the previous games

G.G.

Music practice strategies

No1 - Conociendo el teclado del piano (teclas blancas y negras)
The piece presents two main challenges that the pianist needs to focus in his practicing: the first one is the homogeneity of sound in the clusters. Clusters should be treated as chords, meaning that a delicate balance of dynamic in each note should be reached in which the top voice - or the bass voice, depending of what we choose to hear- comes out in a slightly louder dynamic. The simultaneous pressing of the keys in order for the cluster to be heard as one sound (the three notes in this case are played exactly at the same time) in low dynamic can be a difficult task. A suggestion is to practice 3-note clusters with the same fingering is succeeding intervals trying to keep the piano dynamic and the homogenous sound. The tempo in this exercise should be slow.

The second challenge is the gradual crescendi and diminuendi In long durations:  the organic augmentation / diminution of dynamics can be tricky in the piano. This is due to the nature of the instrument -  string/ wind instruments don’t face this problem as the crescendi and diminuendi are produced by the bowing /or the breaths so there is always contact and control with the instrument. In the piano, after pressing a key we need think of the crescendo-hear it in our mind.

No 2 - Buscando (a escondidas)
Three distinct sections/phrases. The first is bar17 consisting of 13 beats. Attention to the minims which have to be kept the full duration. Next phrase is the 18-19 bar with different time signatures. The pianists continues to count in crotchets and subdivide for the quavers. Last section bar20-end consists of long sounds -here the tempo should not be too slow - depending on the acoustic of the room- as the harmonies that are created need to be heard.

No 3 - Hay alguien ahi?(son los armónicos!)
The silent notes should be pressed with care so no sound is heard. The sfz clusters generate the harmonics so they should be as loud as they can get. Again, depending on the acoustic of the room tempo can be differentiated. The last glissando concerns sliding on the keys -so the sound of the wood is heard (not of the notes).

No 4 - Cascadas (de notas!)
In this movement the steady pulse of the crochets in the left hand is the most important element. A strict mechanical rhythm should be created which is only ‘broken’ in the last two bars were there is a small ritardando.

No 5 - The 4 note argeriatted chords should have an organic flow. A slight accent is suggested on the first note of the chords as to avoid accents on the rest three notes. It is helpful to practice the 4 notes as a chord or with one finger ( to avoid accents which are created with stronger fingers).

No 6 - Practice with metronome to get used to the tempo alternations. Avoid accents and focus on the crescendo within the bar.

No 7 - Put together all that you have practiced so far, pay special care to the tempo changes.

Interpretative suggestions

No.1 - As the title suggests - knowing the piano (white and black keys) this piece serves as an introduction of the piano keys, dynamics, registers. The mood can be explorative and simple. The tempo should be confortable so the pianist has the choice to be a bit faster than crotchet= 60 which is the tempo indication.

No 2 - Try to connect the three different sections with your mind -make up a story. be extreme in the dynamic range that is indicated.

No 3 - As the subtitle suggests, create a curious , mysterious atmosphere by hearing acutely to the resonances. Be precise with rhythm and experiment with the loud dynamics.

No 4 - Create two different layers of sound : a mechanical sound in the left hand and a dolce and legato (in places where it’s indicated) sound in the right hand.

No 5 - Listen to the descending line of the piece that comes every two bars until the ‘coda’ in b.66-67. Play the low F sharp in b.62 like an echo sound. Experiment with dynamics in order to achieve the subtle relation between the piano and mezzo piano dynamic.

No 6 - The changes of tempo should be achieved organically. Special care to the direction and sudden dynamic change between the fourth and fifth quaver ( b.1, b.3). Decide how big your crescendo within a bar can be.

No7 - In this last piece as all elements used are familiar to the listener they can be interpreted as separate fragments/quotations.

Otto Wanke - “Ghost Notes”, (2021)

Commission by Contempus

Analysis / Description
My piece Ghost notes is structured in mobile-like form. The term mobile is borrowed from Alexander Calder’s kinetic sculptures. In his mobiles, Calder used various separated objects, which moved individually and thus created a whole. The overall concept reflected the relations of particular parts to the whole mobile sculpture, like different organs within one body. This formal variety corresponds with the relations between instrumental gestures and resulted musical textures in my own composition. My musical equivalent of Calder’s mobiles has a number of sections whose realisation is left to chance in some way.
The player may to plan this in advance or it may be left to the spur of the moment. This musical sculpture is in a sense "finished" since all the component parts themselves are complete but it has no fixed form.
The main didactic goal of this piece is to encourage the performer to constitute the unique form of the piece as well as shape and vary the individual phrases inside of the squares. Furthermore, there is no defined metre throughout the piece. In this case, all the given notes (eighth, sixteenth notes etc.) have a symbolic character and determine different speed levels. The performer has to find her/his own solutions and time feeling, which may also vary throughout the composition. The piano belongs to the most versatile instruments with wide ranges of timbral possibilities. The next important didactic goal of my piece is to face young players with these timbral possibilities within the forming of individual sound gestures. O.W.

Music practice strategies
The piece presents an opportunity to familiarize with sounds and techniques that are used extensively in piano music post 1950. These are:

- Prepared sounds
- Muted sounds
- Glissandi inside the piano
- Accelerated Repeated notes
- Plucking the strings
- Scratching low strings in a moderate tempo
- Scratching low strings in a very slow tempo

Practice each box, paying attention to the dynamics. As all dynamics are relevant to their context, decide what your forte dynamic could be on a plucked string, for example in box 2 - a decision which depends on the ability to produce ff as well. The same applies for the muted sounds F and E.
As it concerns the scratching of the string,  a crescendo is produced by the faster movement of the hand / card. The movement has to start from a distance so there is enough ‘room’ for realizing the fast movement. The pianist should stand and start scratching the low string from the furthest point he is able to reach. It is suggested to choose the same low string every time.

It is reccomended to decide beforehand the number of repetitions of each box, as there should be no pause between them or between the transitions. The pianist can mark the number of repetitions above each cell. Practicing each cell repeatedly will allow for variation ideas. Τhe pianist has to familiarise with the sounds of each cell also by experimenting with pressure, dynamics and the acute listening of the resonances that are produced.   It’s important, however, to keep the analogies of the notated durations.
Finally, the pianist should focus his practicing on the flow of the repetitions and the transitions to different cells.

Interpretative suggestions
Sometimes a cell can be separated as a phrase ( so one time repetition-one phrase), and other times the continuity/flow can create bigger phrases. Decisions of the performer regarding this issue, depend on the gestural pattern/qualities of the cell and the tempo.  As the inside parts of the pianos are different, the pianist has to experiment with the piano he/she is going to perform and be flexible in the changes that may occur.

Grade 4

Hana Ajiashvili - 3 Pieces after 3 Beloved Paintings by Joseph Hackmey (2020)

Commission by Contempus

The piece is influenced by three paintings. The first painting is a painting by Yeheskel Streichman, the second painting - a portrait of Yosef Hackmey according to Michael Gross, a third painting - by Yosef Zaritzky.
All the paintings are according to Israeli painters, abstract paintings of the 20th century. These paintings speak very much to me, especially since I have been dealing with the subject of the connection between music and contemporary painting for years.
First and third pieces have to be performed inside the piano, on piano the strings, with the help of objects, such as glass cups, a thin stick, and small cymbals. As a composer, I like to explore for different and new sounds through multiple experiments, playing myself inside the instrument. Thus, in the first, piece one plays only on strings with two small glasses along the strings. Sometimes a pianist has to play long slides with the glasses, sometimes shorts, also different shakes, circular motions, glass creaks.
The second piece I composed for the piano keys, but the piano is prepared with duck tape between f2 to a3. Sometimes the pianist has to touch special places on strings to get overtones (while playing on keys). In addition, a pianist has to use in a paper and thin stick (metallic or wood) to play sometimes between the strings of piano.
For the third piece, I put small cymbals on the strings and this gave a special resonance of the reverberations. I built the whole piece according to the idea of playing on these plates. The writing is very graphic and unconventional; the music notation is free, almost without bars, key and time signature. H.A.

Analysis / Description

Painting 1

The piece makes use of two glasses placed inside the piano, on the strings. There are three different ways of sound production which indicate the diffferent sections of the work. These are:
Upward and downward movement on one indicated string notated by arrows (section a. b1-2)
Glissandi and shaking on a indicated range of strings (section b.b6-10)
Sliding a string slowly producing a creak sound (section c. b11-12)

Music Practice Strategies
As in any piece using an unorthodox playing technique, the pianist has initially to explore and familiarise himself/herself with the new technique. Experiment with different glasses and decide which ones are producing the sound that is both satisfying to hear as well as has the greatest potential in differentiation within the different techniques. 

Timing and rhythm should be carefully observed. There should be an organic accelerando in movement from the beginning of the piece until the end of bar 6. The first beat of bar 7, which is in half speed, should be emphasised. In bar 10 rhythmic accuracy is desired in order to create contrast with the preceding free metre bars. Marking with colour the differentiation in upward/downward movement of the sliding glass could be helpful.

Interpretative suggestions
Before practicing the piece, an improvisation using the glasses is suggested to take place. In this way, the pianist can hear acutely to the sounds, and familiarise with the pressure that is needed, the dynamic range that can be produced, as well as the hand movement. The three ways of producing sound will sound very similar to each other if the tempo changes and the points of surprise (i.e bar 7) are not given the right attention by means of accuracy and exaggeration.

Painting 2

 Analysis / Description
The piece is based on the following compositional processes and elements:
-Gradual thickening of the texture (section a: b.1-10, section b: b.11-17, section c: b. 18-28)
-Gradual ascending chromatic scale of central pitches (b-1-10 Notes F&F sharp, b.11-17. Notes Fsharp&G, b.18-28 Notes A&A flat, b.29-39 Notes Bflat&­B). The coda of the work,  in bars40-48, is indicated by the introduction of a different playing technique (glissandi on the strings by using a metalic/wood stick).

Music Practice Strategies
The most challenging element of this piece is to find the specific harmonics on the string (octave, octave-fifth, two octaves). Marking on the string is not recommended in general but if the pianist finds difficult to grab the right position, then a small sticker could be placed. Make sure that the adhesive of the sticker is not strong so it won’t leave any residue when it is removed. Playing inside the piano could be very awkward and tiring for the body position. The pianist has to spend some time finding the places where he needs to stand up or he /she has the possibility of sitting down. In bars 25-26 the use of metronome is suggested. The pianist should initially focus on playing accurately the L.H and then add the R.H.

Interpretative suggestions
The tempo changes can be interpreted as organic acceleration for reinforcing the thickening of the texture. Therefore, the priority is on the latter rather than the metronomic accuracy. The ascending chromatic scale of the central notes should be projected as it will give a sense of direction to the piece. Bars 25-28 present the climax of the piece (dense texture, rhythmic complexity, fastest metronomic marking) so the pianist has to lead to this climax in an organic way.

Painting 3

 Analysis/Description 

The piece makes use of one sound, produced by the treatment of five cymbals placed inside the piano. The structure consists of a gradual thickening in density and dynamics that reaches its climax in bar 6. The last bar uses a different position of the cymbals -on the wooden part of the piano- and has the role of a coda. The piece has no metre,  and rhythm is notated by time in seconds and space notation,  while the sound is continuous by the use of the sustaining pedal throughout the piece.

Music Practice Strategies
Special care should be given to the exact position and size of the cymbals. As the inside part of each piano differs, some sizes of cymbals indicated on the composer’s instructions may not fit, or hit on the metallic side bridges producing a different (not the desired) sound. Depending on the selection of cymbals, the sustained sound of the cymbal might need to be helped by the hand shaking the cymbal longer time than indicated. In this way, the sound will start before taking off the hand and will be more accurate rhythmically.

Interpretative suggestions.
The space notation should be studied carefully as the time notation may be difficult to grasp at once. In that case, it is suggested to mark with rhythmic values on top of the staff in places where it is needed. Experiment with the different touches and hitting of the cymbals in order to make an even sound when a cymbal change occurs.

Morton Feldman - Ιntermission I (1950)

Feldman's piano music is particularly recognisable. The main characteristic of his works is the creation of a specific texture through the use of different timbres - every note or chord constitutes a different timbre. The dynamic is always at a very low level, so that it is not the attack and fading sound that is heard, but the sound itself. The rests/silences are very important in highlighting this effect, playing an important role at the phrase structure. Feldman composes music using short cells, even single chords that appear out of nowhere and disappear into nothingness. While it lacks any trace of melody, rhythm and harmony in the traditional sense, Feldman achieves to structure its timbral material in other ways, such as the use of repetition combined with subtle rhythmic variation and change of meter.

Analysis / Description

Concerning the pitch material, there are no relationships between the notes or the chords as each note /chord functions as a separate sound. There is, however, a preference for seventh and semitone intervals in order to create dissonant harmonies.

1st section b.1 - b.9 (up to the fermata)

In the first section we have the presentation of all the different timbres used in the piece. These are:
-  A four-part chord
- Single sound
- Two successive sounds
- A long duration sound
- Three successive sounds

2nd section b.9 - b.19

The sounds of the first section are repeated or slightly varied. The density of the first
section gradually gives way to a sparser writing with augmented durations and more rests.

3rd section b.20 - b.32
In this section there is an emphasis on the expansion of registers which creates a stronger pointillistic texture, than in the first half of the work where the rhythmic element is of primary importance. The note F in bar 20 and the note G in bar 30 expand the range used in the work to seven octaves.

Music practice strategies
The subtle differentiation of timbres in the context of a particularly low dynamic is the greatest technical challenge of the work (as most of the composer's works). The pianist is advised to take into account the absolute uniformity in the sounds, in cases of their repetition. This uniformity can be achieved by strict control over the movement of the hand and fingers as well as by the precise execution of the durations of each sound. The notes in the high registers usually sound louder on the piano than the others, so the performer must 'adjust' the low dynamics of the piece based on the lowest dynamics he can achieve on these notes. Particular attention should be paid to bar 29, where the fingers travel a long distance at a fast speed and it is technically demanding to maintain the same low dynamic. 

The pedal can be used only to connect - i.e. hold the right duration of- distant sounds. The balance between sounds and silence is particularly important. It is helpful to think of the sounds as 'embracing' the silence that surrounds them. The difficulty in producing low dynamic sounds can be overcome if one practice and experiment with the way of touching the key as well as the way of releasing it. As John Tilbury states, 

‘extreme sensitivity of touch is of the essence in a performance of Feldman's music. In the piano pieces the depressed key is gently eased back to position to minimise the obtrusive sound of the key mechanism, time is allowed for the minutest of harmonics to resound, and at the end of the phrases fingers steal away from the keys noiselessly.'

^{(John Tilbury (1993), On Playing Feldman , https://www.cnvill.net/mftilb.htm. )}

Interpretative suggestions
A steady pulse is an essential prerequisite for the structural coherence of the work. The metric unit is the eighth note (as the sixteenth note may possibly lead to a slow performance). In the initial practicing stages, the use of a metronome is recommended. This work, like all works with a pointillistic texture, requires economy of movement, precise hand preparation and an understanding of how physical gestures affect musical phrases. The 'choreography' of the movements is part of the music - including the pauses. The choice of right fingerings plays a crucial role in the uniformity of the sound as well as the speed in which the piece can be performed.

Alexis Porfiriadis - Piano Puzzle for one or two piano players on one piano (2021)

Commission by Contempus

Analysis / Description
The piece consists of 33 single pages, each one indicating either a pitch pattern, a combination of gestures, an extended technique, a rhythmic pattern, a repeated motive. The composer requires from the performer not only to choose which pages to perform and their order, but also he lets him free to choose dynamics, sounds (inside the piano or on keys), and tempo by placing questions at the end of each page.
Piano Puzzle is an open form composition that sets to the performer two important limitations:
1. A page can not be repeated (unless it has a repetition sign)
2. The minimum duration of each version of the work is 6 minutes.

Music practice strategies
As the pianist has to choose which pages he is going to include in his performance, the first task is to familiarise with the notation/symbols that are given by writing notes and making markings on the score. The second task is to categorise the score pages according to their context. Categories could be, for example,  GESTURES, EXTREME REGISTER PATTERNS, RHYTHMIC MOTIVES, REPEATED SOUNDS, etc. The pianist is suggested to focus on practicing the pages of each category and only once he feels comfortable with all of 33 pages he can begin to combine pages. The transition from one page to the another and especially from one category to another is the most demanding musical challenge for the performer.

Intepretative suggestions
 In this piece the pianist is given the opportunity to apply all the concepts he has learnt through the creative exercises,  as he is required to create his own structure by relating pitches, gestures, rhythms within and between pages.  He can explore of ways to create contrast, or have a central note/or interval, or focus on the energy of different sound gestures, to name few ideas for consideration.  It’s vital to have a specific character/atmosphere in mind - to set expressive goals for the piece through the sounds and the overall form. The large-scale form, as the piece lasts minimum 6 minutes, has to be taken into account.  Is the work going to reach a climax? Is that climax going to be released? What could the axe of the piece be? This working process puts the performer in the composer's  'shoes'  and it demands both creative and practical work (create your own score). It is a unique opportunity for the performer to make his own decisions by experimenting and choosing the best option.  The development of this creative skill is crucial for all new music, regardless of the degree of freedom one is given in a work.

Vitaliy Kyianytsia - 5 pieces for piano (2021)

Commission by Contempus

5 pieces for piano (2021) - is an attempt to create a universal book of contemporary piano techniques suitable for adults, pupils and students, who have not great experience in contemporary piano music. Each piece has its own technique or type of playing. I used additional instruments and props for performing such as: hammer, rubber, thimbles, pieces of gum. Also some pieces have unmusical and theatrical elements of playing, such as whispering, singing, recitativo etc.  5 pieces for piano - is a cycle and must be performed as a whole, but it's possible to perform separate pieces by students at lessons, lectures etc. V.K.

I. Hammer music

Analysis / Description

Hammer music combines normal playing of keys with auxiliary sounds (hitting with a percussion hammer on the metal frame of the piano, prepared piano sounds in the high register.) The time signature alternates from 4/4 to 3/4 until the end of the piece. The structure of the piece could be described as an A-B-A' form:
A: bar1-13: Sparse sounds in different dynamics inside the piano and on the top register of the keys.
B: bar14-18 : Dense texture combining elements of the A section and fast patterns in the low and high register, emphasized by the harmonics produced by the sostenuto pedal.
Α': bar19-22 : Sparse texture consisting of the repetition of the 2-note cluster, Coda: bar 23-31: Sparse texture consisting of sounds inside the piano and on the keys embraced by their resonance.

Music Practice strategies
It is suggested to use patafix for the preparation of the strings. The pauses between the percussion hammer strokes and the notes on the keys are quite long so the pianist has enough time to be noiseless in his movements (putting down the hammer, sitting down). The 9:8 hemidemiquaver patterns should be well articulated and in extreme dynamic contrast.

Interpretative suggestions
It is crucial in pieces like this to create a mysterious, almost ritual atmosphere. Listen carefully, until the next sound, to the resonances created by the sostenuto pedal and adapt the dynamics to the piano and the acoustic of the hall. Connection of remotely distant sounds is only possible through acute listening.

II. Durations A&B

Analysis / Description

As the composer indicates,  the pianist is free to choose to perform version A or B according to his preference.

Durations A is adressed to advanced students as it includes complex rhythms and constant change of time signatures, in combination with different durations and dynamics assigned to each hand. The piece uses all registers and sounds quite pointillistic – a sense of pulse is also avoided through the constant change of time signatures.
Durations B
In this version the different and long durations demand acute listening on the decay of each sound. Extreme registers contribute to the harmonics resonances.

Music practice strategies
Those pieces are a sort of study on short and long sounds. In Durations A,  one- bar phrases are created by the longer sounds. These notes need a slight accent in order to be connected. Practicing separately the longer notes is crucial. This process includes the alternation of hands, as the longer notes are placed in both high and low voices. For ex. in bar 3 the notes of the phrase are A (left hand) , Db (right hand), B (left hand) etc. Once the longer note rhythm is clear to the pianist, then the shorter notes can be added. Metronome use is suggested.

Interpretative suggestions
The combination of short and longer sustained rhythmic values, as well as the pointilistic texture gives a fragmentary sense to the piece that can be enforced by the indicated articulation and the dynamic range. The pianist should notice carefully the tenuto articulation on the longer notes and be precise with the differentiation between the shorter values that alternate- in some cases -from semiquaver to quaver (bar5, 9) or crochet (bars 14-15).

III. In Kagel’s style

Analysis / Description
The piece can be divided to three sections according to its material:
1st section: b.1-12
Subsections:A. b.1-3 fast rhythmical patterns on keys , B. b.4-9 auxiliary sounds in combination with rhythmical playing on keys, A. b.10-12 Repeat of A.
2nd section: b.13-27
Recitativo section - using the voice in combination with rhythmical figures.

3rd section: b.28-42
Combination of elements from the two previous sections in fragmentary form.

Music practice strategies
The seven-note figures of the first two bars can be practiced with the metronome as one beat equals one figure. The pianist should find fingerings that allow for a fast speed.
Bars 6-7 may look complicated at first readings as the pianist has to read three staves and add the clapping sound. It is suggested to put lines on the score that indicate where the 4 beats of the bar fall, subdivided in semiquavers. Clapping comes always in the same place, a semiquaver after each note. Being aware of the latter, the pianist can focus only on the counting of the pitches which also follow a rhythmical pattern (semiquaver note- quaver pause) with the exception of the first beat of the seventh bar which starts with a dotted quaver pause.
Section B should be practiced initially without the voice part. Then,   the voice can be gradually added, omitting the piano part when the voice comes in. Pianists are not used to play and sing at the same time, so it might take time to get used to it. If that’s the case practicing two bars repeatedly and then add one at a time may help. 

Interpretative suggestions
The bars with a voice part can be performed more freely as it is more important to do the diminuendi and the crescendo rather than being rhythmically  accurate. On the other hand, in bars 5-7,b.13-42 rhythmic precision is demanded for achieving coherence and continuity. The tempo is extremely slow in the recitativo section so the pianist can enjoy the process of speaking while playing by trying different tone colours and dynamics.

IV. Thimble music

Analysis / Description
The piece consists of three actions of sound:
a. Glissandi - b.  rapid patterns such as trills or figures with neighbour notes (b.5) - c. single sounds 

All sounds resonate through the use of the pedal or the held sounds in the low register (b.1-7, b.16-17) with the exception of b.8 (senza pedal).

Music practice strategies
The four thimbles need to fit perfectly on each finger in order to avoid loosing one while the performance is taking place.  The pianist is suggested to tighten them on his/her finger by narrowing the thimble's hole using a hammer or pliers.
Experiment with hand alternation for the right staff, in places where the left staff has pauses or it can be held by using the middle pedal (sostenuto). It is important to realise that a crescendo/diminuendo in a glissando is only achieved by different speeds in movement ( much like a forte dynamic is only achieved by the faster speed of the finger hitting the key). For this reason, the pianist should cover as little range of the keys as possible in the piano dynamic,  in order to remain enough space for the crescendo (i.e.bar1).
Notation in bars 9&11 can be tricky to read, so the pitches can be marked with a legato slur or numbers that indicate the succeeding ones. For example, b.9 would be:

 4+1+1+3+1+1+1+1+1+2+1+1+1+1+2

Interpretative suggestions
The pianist is suggested to take time for each gesture, listening to the resonance and enjoying the sounds. Exaggeration of the ritardandi and accelerandi is a consideration. Being accurate in rhythm is not a priority, but it is suggested to use a metronome during the first practicing sessions to develop a sense of the form of the piece. Create connections by exact repetitions of the sounds to reinforce the work's coherence.  ­

V. Epilogue (Mechanical music)

Analysis / Description
The piece makes use of only six prepared pitches (three notes on the Rh, and three notes on the LH) that produce an unpitched wooden effect. Although it is written in regular meter (4/4,3/4,1/4) mainly consisting of semiquaver values, the different placing of rests among the two staves create a polyrhythm effect.

Music practice strategies
As the subtitle suggests, the piece has a mechanical character that can only be achieved by strict metronomic precision. Use of metronome and marking the position of each beat may be helpful.
Bars 17-19 present a counting challenge,  as the pianist has to play 8:6. It is suggested to find where the three beats of each bar fall,  and then play 4:3 regarding the quaver+quaver rest as a crochet. Practicing 4:3 (4 beats on the Left hand and 3 beats on the Right hand) on the piano lid will help to hear clearly the resulting rhythm.

Interpretative suggestions
Emphasize the polyrhythms by accenting slightly the ‘entries' of pitches which come in irregular places. Perform repeatedly with the metronome to ensure mechanical rhythmic precision. In bar15 , the piano dynamic should not be too soft, in order to allow space for the diminuendo in bar 16 that reaches pppp.

Grade 5

Georges Aperghis - Secrets élémentaires (1998)

No. I

Analysis / Description
The pitch material of the whole piece consists of eight notes. In the form of cluster  (ex.1)  it always appears in the same rhythm (in the fourth sixteenth of a measure) in the 2nd, 4th, 7th, 11th and 13th measures of the work.

(ex.1).

In the remaining measures, the deconstruction of the cluster takes place, as each of its notes is heard separately, while some appear more than once. The variation in the deconstruction of the cluster in these measures,  lies in the different order of the notes - hence the emphasis of different voices - as well as in the different rhythm in which they are presented. In measures 1,3,5,6,8,9,10,15 the notes of the cluster are presented in four different voices. Two voices are played with the right hand and the other two with the left hand. The rhythmic pattern between the voices is 3:2 (triplet versus duplet).
The piece is divided into four phrases, all ending in a fermata:
m.1-m.5 (5 measures), m.6-m.7 (2 measures), m.8-m.10 (3 measures), m.11-m.14 (4 measures).
The last measure of the miniature is the rhythmic enlargement of the first measure:

Music practice strategies
The extreme low dynamic indication (pppp) in combination with the discreet rhythmic variations in the limited pitch range are the main challenges for the performer. The uniformity of the sound at low dynamics requires finger control and acute listening in order to avoid accents. It is suggested that the metronome is used during the first practicing sessions in order to ensure rthythmic precision.

Interpretative suggestions
It is suggested that the duration of the fermatas should be relatively short and equal in repetitions. This is because an uneven and long duration of the pauses would suggest a more improvisational character that would distort the tightness of the rhythmic deviations and the relationships between them.  The title of the work - Elementary Secrets - should be taken into account in order to create the right atmosphere for the piece; the low dynamics should not mislead the performer into a subdued performance, but should instead suggest a whisper of important and sensitive revelations.

No. IV

Analysis / Description
The compositional idea concerns a chromatic descending movement of the pitches. In ­the left hand, the chromatic movement of the higher voices of the chords is evident: starting from the high register they chromatically end on the low area of the instrument. The chromatic movement in the voice of the right hand, however, is less obvious, because it alternates constantly with the first two-voice chord - Bb/E - while in the last two systems it alternates with the chord D/Gb. Consequently, the distance covered in the left hand (3.5 octaves) is clearly bigger than the one covered in the right hand (10th interval).
The miniature is divided into four sections marked by the fermatas (ex. 1):
- Beginning to fermata at the end of the first system
- Second system until the first fermata of the fourth system
- Fourth system to the second fermata of the same system
- Fifth system to the end.

Music practice strategies
The rhythmic relationship between two hands is, as in the first miniature, three to two (3:2). The absence of measures in this case, however, makes it more demanding to count accurately the rhythmic patterns.  It is suggested to use the metronome ( ♪=144) and to practice the sections in fragments. Careful use of the pedal is recommended so that dissonant chords can be heard clearly in the left hand. Both hands/voices are of equal importance so the prominence of one voice at the expense of the other by means of dynamics should be avoided.

Interpretative suggestions
The first fermata in the fourth system is suggested to last until the held chord is almost inaudible. By this way the pianist gives the false impression of an end - and the rest of the piece functions as a 'coda' /closure. It is also suggested to avoid ritardando in the last system. The dynamics can remain the same or a slight diminuendo can be realised in the last two crotchets.

No. V

Analysis / Description
The miniature uses the compositional proccess of gradual addition and subtraction of pitches.  It begins by repeating one note (Ab) and gradually adding adjacent notes until the interval of the sixth major at the end of the fourth system is covered (Ex. 1). The gradual addition of notes is combined with rhythmic thickening that reaches its climax in the 5th system. In the remainder of the movement the process is reversed, as the cluster pitches are gradually removed and the rhythmic patterns are diluted until they reach to the repetition of a single note (Eb). The last system is the exact rhythmic palindrome of the first.

Ex.1

Music practice strategies
Subtle rhythmic variations require attention in regard to the different durations of the held notes. For example, the triplets of the second voice of the 3rd system must have a longer duration than the semi-quavers of the first voice. Particular attention should also be paid to the duration of the almost 'hidden' eighth notes which constitute the longest rhythmic value of the miniature.

        3rd System

Rhythmic thickening is not an indication of an increase in dynamics. The performer is advised to pay attention to the dynamics he/she interprets as pppp at the beginning of the piece, in order to maintain it when the texture thickens.

Interpretative suggestions
Sound uniformity is a primary concern of the performer. To achieve this uniformity requires, in addition to finger control, absolute precision in the execution of rhythmic shapes. Avoid any unnecessary physical movement that will affect the sound as well as the whole atmosphere of the piece. The counting of the rhythmic shapes must be internalised to the extent that it is not perceived, visually and aurally, by the listener.

No. VII

Analysis / Description
The miniature consists of the juxtaposition of three main musical events, which succeed each other as separate entities although they share the following common characteristics:
- Alternation of contrasting extreme dynamics (ppp- ffff)
- Expansion of range, from one octave to 4+ octaves (1st and 2nd musical event)
- Addition of a continuous pedal (1st & 2nd musical event)
- Pitch material (1st and 3rd Musical Event)
- Rhythm (1st and 2nd Musical Event)

The introduction of the three musical events is completed in the 5th system.

In detail:

1st Music Event: 1st&2nd system (A)

The first system consists of four patterns in different order and with different numbers of notes that relate to the 'unrolling' of a chromatic cluster (Bb-C#). Dynamics (pppp) and fast notes leading to held resonances are common to the four patterns. In the second system a similar idea evolves in the diametrically opposite dynamic (ffff): the exact repetition of a pattern, using all the notes of the chromatic scale, with the gradual subtraction of the first note. The first pattern consists of six notes in each hand and is repeated six times, ending with one note. The aural effect of the first with the second system is very different due to the addition of continuous pedal in the second system, as well as to the expansion of register/space.

2nd Music Event: 3rd&4rth system (B)

3rd Music Event: Last bar of 4rth system

It differs from the previous two in duration (shorter) and texture (percussive, dry sound). The pitch material is the same as in the 1st musical event. It is rhythmically more complex, in the sense that the meter changes to 5/8 and the  successive notes are replaced by triplets over duplets with pauses in between. The dynamics change once again from the pppp of the first measure to ffff. In the rest of the miniature the three musical events recur in fragments and/or slightly varied, e.g. at the end of the 9th system the pattern of the 2nd system appears inverted and rhythmically condensed:

The last two systems have the role of the coda. The elements and their 'development' are minimized:
- Dynamic range remains at very low levels -pppp- until it reaches to quasi niente.
- The events, except the quotation of the short quintuplet at the beginning of the 11th system, remain in one octave - in contrast to the gradual expansion of the three main musical events.
- Pitch material is limited due to the tremolo and the repeated note of the last pattern.

10th - 11th system

The alternation of extreme dynamics is a key component of structural coherence. In particular, the alternation from pppp to ffff occurs initially on a system-by-system basis, and from the 5th system onwards this alternation becomes denser. The sfz replaces the ffff in the next two systems (6th-7th), unifying the two distinct sound events.

Music practice strategies
To achieve clarity and accuracy in the performance of the grace notes, slow practicing and careful listening to each sound added is recommended. It is helpful to play the chromatic cluster before practicing the specific patterns.
Gradual addition of one note at a time in long and fast passages, such as those in the third system, is also helpful. In the 5/8 and 3/8 measures, the sixteenth-note triplet is suggested as the basic time unit.
Particular care is required in measures with indicated tempo and meter. To obtain a proper sense of tempo the use of the metronome is recommended. In the last two systems, the metronomic indication must be accurately followed.

Interpretative suggestions
The fermatas between patterns, with the exception of the last one, can be short (1-2 seconds) but not of exactly the same duration.  The last pitch of the second system (F#) can be played with the fist to achieve the extreme dynamic of fffff. The coda can be interpreted as a commentary on the preceding events in the form of a whisper.

Beat Furrer - Voicelessness (1986)

Analysis / Description
The work is inspired by American poet Sylvia Plath’s poem, 'The Munich Mannequins', whose last line is the title of the work. It is a particularly beautiful and atmospheric piece where the use of contemporary techniques serve to create a new soundscape.

The structure of the work is reflected in its original notation. The voicelessness follows the rules of a compositional 'domino', as the R.H staff is immediately repeated on the L.H staff combined with the next staff of the R.H and so forth. This original technique is reinforced by the appearance of a different measure in each staff (12/4, 13/4, 14/4 and so on), thus removing any sense of strong and weak beats. The texture created through this technique, combined with the low dynamics and the imaginative use of the pedal, is particularly fragile and characteristic of several of the composer's works.
The structure of the work is based on three main elements:
(a.) the gradual expansion of the use of space (register), as the work begins in the limited range of the 4rth interval (B-E) with the dominant sounding of the interval of the major third (C-E) and BD#) which gradually expands until it reaches the 10th system, where the full range of the istrument is used.
(b.) the gradual thickening of the rhythmic shapes and meter (from 12/4 to 16/4) - peaking in the 8th system - and its subsequent gradual thinning.
(c.) Two central pitches (B/E in the first section and B/C in the second section).

The piece could be divided in the following sections:

First section (A): 1st system - 9th system
Characterized by gradual rhythmic thickening, widening of the range and the absence of pulse.
Second section (B): 10th system - 17th system
Characterized by the gradual thinning of the material (pitch material and rhythmic shapes, use of all areas of the instrument) as well as the subtle appearance of some pulse periodicity which, together with the chords of the L.H., function as a 'solution' to the rhythmic and harmonic irregularity of the first section.

Subsections of the 2nd section α. 10th system (b),

The poitalistic texture of subsection b is characterized, in addition to the use of all areas of the instrument, by the use of only two pitches, C and B, which appear in different ways (as a chord, an appoggiatura, or as single notes) in combination with constant variations of dynamics (for the first time the dynamic ff appears) and rhythmic patterns.

b.11th-15th system (c)

The repeated note (C) gives the feeling of pulsating movement. It is used as an element of
coherence in combination with the 'solution' of the chord of the interval 3rd minor to 4rth in the L.H. (from Bb/Db to Ab/Db).

c. 16th-17th system (b’)

The last three systems are an enriched variation of subsection b as far as the use of registers and rhythmic and pitch thickening are concerned.

Music practice strategies
A proper approach and practicing of the apparent rhythmic complexity of the work is an important prerequisite for its understanding and interpretation. It is obvious that it is not possible to count two different time signatures simultaneously. The first step is to use the metronome for each staff separately, to get the sense of the rhythmic patterns. Next step would be to play the two hands together, counting one of the two staves with absolute precision (leaving the choice to the performer as to which staff to count) while the other staff is played graphically in relation to the counted staff. The basic principle is to avoid any sense of periodicity and projection of strong/weak beats. The irregular metre - apart from subsection c in which we get a sense of pulse due to the repeated pitch (note C) - is one of the two most important elements to be projected in the performance of the piece. The second element is the quality of the sound/timbre. Voicelessness is among the works that would be dramatically affected if played on an instrument with limited sound capabilities - as it is crucial to achieve subtle differentiation of sound colour within the extremely low dynamics.

Interpretative suggestions
The ad libitum use of the pedal needs special attention as a fragile balance must be achieved; the pianist is suggested to 'blur' the two lines so as to create interesting resonances, but also to realise subtle pedal changes at the points of harmonic changes. The quality of the sound, as mentioned, will determine the quality of the performance. The differentiation between 'bell-like' and more 'muffled' sounds is important (particularly when combined with the use of limited pitch space). The performer should focus on creating a sound world that combines fragile texture with rhythmic precision, but also on the mental tension during the gradual deconstruction of the work that begins in the 9th system and continues until the end of the work. One element that may be interest for the interpreter is the almost imperceptible projection of a 'melodic' line at scattered points in the first section. Exactly the opposite, suggested by the composer, applies for the second section: an accented note will 'disturb' the sonic reverberations that are prioritised in this section.

Haris Kittos - Ètude 1 (2021)

Commission by Contempus

Analysis / Description

'The purpose of this particular Ètude has two aspects: firstly, the purely technical practice of the instrument with the fast passages and repetitions shared by both hands, but also contemporary techniques such as the use of silent chords and sostenuto pedals - all this alongside familiarity with contemporary notation. Secondly, practicing from a musical perspective to become familiar with the particular harmony, phrasing, development of material, timbres and any other elements or parameters that are components of the particular free atonal style. The composition of this Ètude is inextricably linked to an ongoing personal exploration for new timbres and dramatic structures through musical gesture and development, as they arise from expressive needs of the moment. The treatment of the work as an Ètude, however, has been influenced by the observation that the common element in Ètude already recognised as important works in the piano repertoire (such as those of Chopin, Scriabin, Rachmaninov and Ligeti) is the purity and expressive power of the musical ideas and their development, balanced with their utilitarian expediency within such a specific and limited context’. H.K.

The physical transformation of sound is the dominant element of composition, as it could be described as a play between sounds, reverberations and subtle nuances achieved, as we will examine below, through the use of widespread contemporary compositional and performance techniques. The structure of the work can be subsumed under 'developing variation' as the limited material at the beginning of the work gradually evolves and transforms. In this sense, the divisions of sections and subsections given below are arbitrary and were made with the changing hierarchy of musical materials (rather than the presence of different materials) in mind. The reason for these divisions is mainly aimed at direct perception of structure and facilitating the performer during fragmentary study. The following analytical and interpretive approach is one of several interpretive versions offered by the work, due to its particular treatment (gradual sonic transformation).

The basic materials and characteristics of the work are presented from the very first sound event:
(a) Pitch material resulting from specific 'scales',
(b) rhythmic pattern consisting of fast 32nd notes marked Fast, ad lib.
The musical materials that contribute to the creation of resonances are (a) the particular use of two pedals - sostenuto and right pedal , (b) the use of held silent chords (silently depressed), and (c) the use of a fermata with a seconds indication. This sound event, in addition to the silent chord, is also characterized by the use of limited space (register) of the instrument (Ex. 1).

Perhaps more important than the detailed description of the musical materials of the work is the course of a first basic musical gesture that emerges from them: the creation of a 'cloud' sound mass (fast notes/ forte dynamics / use of both pedals/ limited space) followed by an abrupt 'emptying' of the hearable sound,  acting as a resonance of the previous event (abrupt release of the right pedal / held silent 4 notes with a duration of about three seconds). The ending of the gesture consists of a particularly quiet and short sound (a 32nd note with appoggiatura, staccato articulation and pianissimo). The next fermata acts as a separating breath before the next gesture. The sonic transformations throughout the work are produced, as far as compositional techniques are concerned, in five different ways:

1. Continuous sustained sostenuto pedal in combination with abruptly interrupted right pedal.
2. Sustained chords to create harmonics, supported by the sostenuto pedal.
3. Gradual removal of held chords without pedal (negative arpeggiation).
4. Silent chord in the low register of the instrument combined with a repeated note.

First Section (beginning - system 7/1st fermata)
Subsection 1 (beginning to 3rd system/ 2nd fermata)
In this subsection each of its musical materials is developed in a highly symmetrical manner. The basic compositional idea concerns the gradual expansion of the first gesture. By way of illustration, the development of each of the musical materials in this subsection is described:

- Rhythmic pattern
Gradual addition of one or more pitches (1st pattern: 8 notes, 2nd pattern: 9 notes, 3rd pattern: 10 notes, 4th pattern: 14 notes, 5th pattern: 16 notes)

- Resonances
Expansion of the silent held chord. Subtle appearance (release of a note from the held four-voice chord) of the negative arpeggio at the end of the first gesture of the 2nd system, which is reinforced in the first gesture of the 3rd system (release of three notes from the held five-voice chord).

- Final sound of the gesture
Gradual expansion and transformation of the sound event.: (a) the final sound consists, in the first two gestures, of a short note with an appoggiatura, (b) of a short note with two apoggiaturas in the third gesture; (c) in the fourth gesture it consists of a minimal enlargement of the duration of the central note resulting from a chord (i.e. the fusion of the apoggiaturas with the note) as well as the change of dynamic to sfz; (d) in the next gesture two short chords with low dynamics followed by an sforzando chord.

- Register
Gradual expansion of the space occupied by the gesture.

Subsection 2 (up to 7 system/1st fermata) The validity of this division is confirmed by the complete pause of sound between the two subsections, achieved by releasing the sostenuto pedal for the first time in the work. The main reason for its separation, however, concerns the development and significance of the repeated notes, which, while initially appearing as the conclusion of the rhythmic motif (in a sense replacing the resonances of the held notes of the first section), gradually evolve and become autonomus.
The way they evolve is through an increase in the number of repeating notes until, in the last system, they appear as an autonomous motif, followed by the familiar sound effect of the sustained silent chord. The next 'new' rhythmic pattern-gesture is an extension of the autonomous pattern of repeated notes (Ex. 2). This new gesture gradually acquires its autonomy: while at this point it functions as a musical breathing space and a bridge to the last development of the original motif, when it reappears in the 9th system it takes on the central role of the composition.

Second Section (7th system - end)
Subsection 3 (7th system -9th system to fermata)
Central importance in this subsection is given to the differentiated resonances. The negative arpeggio, hints of which appear from the first few measures of the work, is the key element of the subsection as it is enlarged and strengthened in duration, volume (7-8 notes in each chord) and dynamics (sffz). In contrast, the original central rhythmic pattern appears in a varied and weakened form as it is reduced in speed (slower or even with ritenuto), number of notes (8 notes) and dynamics ( p,pp) respectively. It is also transferred to a lower range of the instrument.
Subsection 4 (9th system - end)
The last part consists of the alternation of two musical materials:
(a) the gradual weakening ( reduction of the number of pitches, speed, and dynamics) and transfer of the rhythmic pattern to the lower register of the instrument and (b) the silent chord in the lower register of the instrument combined with the repetition of the lower note of the piano, whose rhythmic resonance is associated with the previous rhythmic pattern as a kind of 'ending'.

Looking at the work as a whole, one can conclude that its main ideas concern the gradual strengthening of the produced resonances and echoes against the 'normally' produced sounds (pitches) as well as the less gradual, descending movement from the middle to the lower range of the piano.
As mentioned above, the gradual transformation of the sound, micro-structurally, resulted in many cases mainly by means of addition (horizontal and vertical pitches, rhythms and space). It is interesting to point out that in the macro-structure the exact opposite occurs,  as a gradual 'subtraction' of existing musical elements takes place, i.e. de-escalation in sound volume and speed.

Music practice strategies
The work contains performance techniques that are found in a large number of contemporary works; the use of two pedals simultaneously, silent chords, negative arpeggios and rhythmic complexity.
It is proposed to carry out the practice of using the two pedals of the first system of the piece separately (without notes), which will involve the engagement and sudden release of the right pedal with simultaneous prolonged pressing of the sostenuto pedal. In the next stage of the practicing, it is proposed to experiment with different modes of engaging the right pedal, concerning pressure and speed. Attention should be paid to the desired differentiation between the two right pedal symbols, as the latter emphasizes the gradual engagement of the right pedal.

The basic challenge of these experiments is the engagement and release of the pedal without making noise, which is achieved by the constant contact of the foot on the pedal. (After the abrupt stop, it is recommended to place the foot directly on the pedal).
Silent sustained chords are suggested to be studied separately and can be presented as a game exercise in which the pianist is asked to 'play' any chords he/she wants and sustain them with the sostenuto pedal. He/she can then improvise by playing a few staccato notes, with pauses in between, concentrating on listening to the resulting harmonics. Through this simple exercise the pianist can observe:

1. the duration of a sound until its complete silence (accute hearing)
2. the minimum dynamic required to play the notes in order to hear the harmonics
3. the operation of the sostenuto pedal.
4. The weight of the touch for adequate but at the same time silent pressing of the keys.
The engagement of the first silent chord of the piece can be performed with both hands, while the distribution of the notes of the rhythmic patterns can be alternated between the two hands. Clarity of articulation of sound events is a direct consequence of well-thought fingering and hand alternation. Since there are no absolute fingerings due to different skills and hand anatomy, each pianist must spend considerable time finding them.

Interpretative suggestions
A sense of line and direction in the notes of fast rhythmic patterns is important. To provide clarity and differentiation of the patterns, it is suggested that notes at the lower register are played at a slightly lower dynamic. Otherwise, the continuous right  pedal will create a ‘humming' sound, which will prevent the desired articulation modulation. In each of these patterns it is necessary to notice the accented notes  : in the first two patterns only the first and last notes are accented, but at a later stage patterns become more complex with continuous fluctuations in dynamics and accented notes at different points within the pattern (Ex. 3).

(Ex. 3)

The poco sfz chords should be perceived as the conclusion of the gesture and not as an abrupt interruption. For this reason, their interpretation should focus on the short duration and
staccatissimo articulation rather than the intensity of the attack.
The piece has no metre but the metronomic indication should be followed where possible (e.g. 3rd system / chords). The rhythmic pattern at the end of the 5th system should be rendered with particular rhythmic accuracy, as should the last three systems of the piece (Ex. 4). The common unit in these rhythmic section is the eighth note. For acquiring a sense of tempo, the pianist can play these points in succession.

Stefano Paparozzi - Mandala (2021)

Commission by Contempus

Analysis / Description
The work is based on the mechanical repetition of two figures:
The repetition of note C in the middle register (figure A) which appears in different groupings, and the repetition of 7 notes (C,Db.Fb,Gb.B,G ⫲, F⫲). which are distributed in six, three , four and 5 note groupings (figures B).
Figures B are gradually introduced in the piece by the addition on one at a time in each system (and consequently subtracting a figure A each time) until they take over the whole space of a system (page 3, first system). The pitches of figures B are repeated exactly the same (few times in different order) and in different sequences. From the second system of the same page, the diverse process is realised -a mirror like technique - as the composer gradually adds a figure A (consequently subtracting one of the figures B). The piece finishes once the figure A has taken over the whole system.

Music practice strategies
The technical challenge of this piece lies on maintaining a rhythmic flow in a awkward body posture (standing up with a hand inside the instrument, and both feet on pedals). The piece is written in C clef because, as the composer explains, he wanted to make the pianist completely mindful of the performance (and also to avoid an excess of ledger lines, or having to write it on two staves). The accidentals are summed up in the unusual key signature because the alteration would always be the same for the same notes (D, F an G over the middle-C are always flat, G and F below the middle-C are always sharp).
The piece looks complicated in the beginning due to the C clef but if the pianist organise his practice and put marks in his score it will simplify things. First of all, it could be very helpful to put numbers above the figures A and B so one has to read only them (6,4,3,5 etc).
Secondly, the performer can mark the recurrence of the figures B. So the first grouping would been the six-note pattern in the end of the second system (C, Db.Fb.Gb.Fb,Db). This grouping, for ex, can be highlighted with red colour each time it occurs. The second grouping (C,D,Fb,Gb) with green colour etc. Exact repetition of fingerings that apply to specific groupings will facilitate accuracy and speed. For example, the 4-note groupings are played with fingering 4,3,2,1, the 6-note groupings with fingering 3,2,1,3,2,1 etc.

Interpretative suggestions
The movement of the hand that mutes the strings has to be practiced with care. The exact position and pressure of the hand in the strings should be worked out to ensure the maximum result in muting the right strings and moving fast to the different positions. The pressure that is needed can vary according to the piano. However, as the goal is not to produce harmonics but a percussive sound in which pitches are still recognisable , it is recommended to place the hand close to the hammers and use the minimum of pressure required. Experimentation on that topic is demanded, as the flexibility as well as the size of hands differs in each pianist. The choice of hands (the one that will be playing on keys and the one that is muting the strings) is also open for the performer to decide.
It is suggested to choose speed and fingerings that allows for continuity and the execution of the slight accent in the beginning of each figure.
The piece should finally give the sense of an effortless, mechanic sound.