Finale 2009 - [Jiang Su Jen.MUS] - Rive

Riccardo Piacentini
Jiang Su Jen
per pianoforte
(2008)
Copyright © 2008 by Riccardo Piacentini
a papà
Jiang Su Jen (2008),
Venexiàn (2007),
Madrileño (1991, rev. 1998):
a) tutti e tre questi lavori sono per
pianoforte e utilizzano materiali melodici e
armonici di derivazione popolare;
b) i titoli sono desunti dalle rispettive città
di origine: Jiang Su, Venezia, Madrid;
c) le tecniche pianistiche impiegate
coniugano tradizione e contemporaneità;
d) le occasioni che ne hanno stimolato la
composizione sono legate a esperienze
artistiche in Paesi stranieri (un recital di
Marcella Crudeli a Madrid per Madrileno,
una tournée di concerti del Duo Alterno in
Giappone per Venexiàn, un'altra in Cina
per Jiang Su Jen).
Quest'ultimo lavoro ha tuttavia una
particolarità tutta sua, quella di essere
stato scritto per la maggior parte in aereo,
durante le circa 30 ore di trasferta da
Torino a Sydney, mentre mio padre
improvvisamente moriva. Per questo
Jiang Su Jen è dedicato a lui, che
per primo mi ha insegnato ad amare la
musica.
a) all of these three works are for piano
and utilize melodic and harmonic materials
of popular derivation;
b) titles comes from the respective cities of
origin: Jiang Su, Venice, Madrid;
c) the adopted piano technics share
tradition and new music attitudes;
contemporaneità;
d) the occasions that stimulated their
composition are linked to artistic
experiences in countries abroad (a piano
recital of Marcella Crudeli in Madrid for
Madrileno, a concert tour of the Duo
Alterno in Japan for Venexiàn, another one
in China for Jiang Su Jen).
But this last work has a its own
particularity. It was written for the most on
a plane during the about 30 hours of
flights and transfers from Turin to Sydney,
while my father suddenly died. Because of
this Jiang
Su Jen is dedicated to
him, who first introduced me to love music.
r. p. (december 2008)
Cinque usi del pedale in Jiang
1
2
3
Su Jen:
4
5
1. abbassato, 2. semiabbassato (o tremolato), 3. progressivamente abbassato,
4. progressivamente rilasciato, 5. abbassato percussivamente.
In quest'ultima modalità il pedale va abbassato contemporaneamente ai tasti,
producendo un effetto simile a uno strumento a percussione
con successivo riverbero di tutte le corde.
Five pedal uses in
Jiang Su Jen:
1. down, 2. mid-down (or trembling), 3. progressively down,
4. progressively up, 5. percussively down.
In this last case the pedal has to be pressed simultaneously to the keys,
producing an effect similar to a percussion instrument
with following reverberation of all the strings.
Jiang Su Jen
per pianoforte
(2008)
Riccardo Piacentini (1958)
e
t
r
o
f
o
n
a
i
P
 
        
, eufonico (euphonic)

     
   


   
 
  
  
)
g
n
i
y
l
f
,
y
l
t
f
o
s
(
o
d
n
a
l
o
v
,
e
c
i
f
f
o
s
0
6

      
  





   
   
 

     
            

        
    
  

  
m. d. egualissima (l. h. very equal)






 

     

  







 
  







     

   




  



ped. sempre preciso e pulito
                   




 
 





ped. always clear and precise
 
 
 
 
          






  


 


  







  

  


   



 
          
        










  


 
  




 




 


  
         

  

 
Copyright © 2008 by Riccardo Piacentini
-5-


           

   
 
  


    


 
 

 
 
     






    


    





  

(ped. abbassato)

(loco)







  
 










  

          

          
  
   
 





 
 l. v.
     
   
   
 
 

    
  





  
13

 
          
 
     
 
 








0
8
 da vicino, sempre soffice (softly, close to the key)
 

















   

    
         

    
        
   
    
  
    
 


 
 
 
     
 



 








          





  


 


   
  
     






 
   
 
 



5
 
5
6

  




non leg., sgranato e brillante,
senza pesantezza (not leg., brilliant but not heavy)



6
 
Copyright © 2008 by Riccardo Piacentini
-6-

   
6


   

5
 
 
 

 




  
  
 


6


6
 

5


5


 
 


    
    
    

   
 
 


 




 
6


6
  

 


  












    
  
   



   
 



    


 
 

       
  


 



 




  
 (ped. abbassato)
                      

    
  




  
muto (mute)












5
6
5
5
6
5
6
5
6

5
7
6
6
5
   


  
 
3





  







   
  
  
   

   





 

 



 

 

il ped. come uno strumento a percussione

3



     
     





0
7

  
   

             


3
5
(ped. like a percussion instrument)
Copyright © 2008 by Riccardo Piacentini
-7-




 

(loco)


  
 



 

 















 
  





 
  
 


 


   








 

 



 

  

   
 
  

   
    
 


  


  
 

  

  
 



  

Copyright © 2008 by Riccardo Piacentini
-8-

 



 
  

   
 
 

 




   
 
   
  


 
   




  



 




        
 

 
  
   
 






 
  

    

  
   





 




 
 




 
 
 
 
 
 


   
  

 
 
     
  


  
      
 (warm)      
caldo

  

 
      
 
     





    



 


   

 
 





 


ped. ogni accordo









  










 


  
  
    


     
   
       
 

 
 
 
  



 
    
  
  


  
 
 
  
 

 

  

  



Copyright © 2008 by Riccardo Piacentini
-9-







  
 
  

0
6






 



  



  
   


  

   


 

  



 



 

 


    
   
     
    
 
 

 



   

  

   



0
5
0
4


 

       
 come all'inzio (as at the beginning)


    
 


   


 
 
 
 
m. s. sempre 
 



 
 



     


   

      
 

 

    


 







 
      
  




     

  
    

    
   





 
 
     
  




  
  


   



  




 


    
 

 

 
 
 


  

 

  





 

 

 



 
   

 
 
    
 
    







  


  



  

 
     









 







      

  






 


  


 

 


  
     




 



  

a tempo
poco tratt.


 

   

 




 


 



 



   

Torino, 3 dicembre 2008
Copyright © 2008 by Riccardo Piacentini
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

