…eventide will come…(improvisation)

Eventide will come

Sunny day on a beach in the Gulf… So noisy, busy and shiny all day long, and suddenly getting quiet by the evening… And before the evening there was an hour or so when you could sense this turning to the slow mood. I was fascinated by those slight changes… Playing this music, I thought of the moment when our thoughts are calming down and we feel that happiness  of the being itself, no matter what is around. For that expression I chose simple major scale and slow change of bases of harmonies (pedal points).

Title …eventide will come…

Genre improvisation (live playing on MIDI-keyboard)

Tasks piano; major scale, pedal points; expression of calming down and happiness

Duration [2’40]

Date of creating May 8, 2017

Copyright © 2017 Natalia Pispini; CC BY-NC license (for non-commercial use)

(Raw score is available on demand. You can order similar style music from Natalia)

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Two Salon Pieces, for string quartet

Two Salon Pieces

  1. Expectation. A major. Tempo di Valse
  2. Determination. A minor. Tempo di Mazurka

Genre pieces for string quartet (2 violins, viola, cello) in character of waltz and mazurka dances

Date of composing October 2014; March 2016 – revised

Style Neo-Romantic

Duration [2’00”], [1’57”]

Level of difficulty beginner to intermediate; intermediate to advanced

Copyright © 2014-2016 Natalia Pispini

Description

Here is my first attempt to compose miniatures for string quartet, with classical approach to musical form and texture, and touches of Neo-Romantic emotionalism on the level of harmony and tonalities. Both pieces display an airy and capricious character; both are connected with the dance meters / rhythmic patterns. Maybe, these things have eventually brought me to the title ‘Salon Pieces’. Both are composed in a simple ternary musical form ABA1. The texture is basically homophonic (melody or ‘thickened’ melody vs. harmonic support) and enriched by flashes of ‘spicy’ chromatic notes. The bowing technique is specified if necessary.

To learn the details please follow the links below

Expectation

Determination

 

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Determination, for string quartet

From ‘Two Salon Pieces, for string quartet’

Date of composing March 2016

Genre a piece for string quartet (2 violins, viola, cello) in character of mazurka

Style Neo-Romantic

Duration [1’57”]

Level of difficulty advanced

Copyright © 2016 Natalia Pispini

Description

In A minor, Tempo di Mazurka. Lyrical and dramatic mood is prevailing here, with mazurka meter of ¾ and the rhythmic patterns typical for this dance. The ternary form ABA1 has shortened B section. The almost relentless tempo, the predominance of minor tonalities and the ‘insisting’ repeated figure at the cello part – all these features serve the named character of ‘determination’. But the chromatic details reveal anxious and unstable property in the whole.

Performance notes

The performance of this piece requires basic level of virtuosity. Besides dramatic development within the piece, it is expected to be played in relatively light and elegant sound. Holding strictly the tempo and following precisely the rhythmic patterns are essential for the musical image.

Look at the score sample

Listen to the midi rendering

! This work may be commissioned or/and performed. If you want to play this piece, please contact Natalia. In your message, kindly provide some information  (brief introduction, collective’s title, website, contact details). The score, parts and all necessary material will be sent to you within a week.

Explore my other works for chamber ensembles

Expectation, for string quartet

 From ‘Two Salon Pieces‘, for string quartet

Date of composing October 2014; March 2016 – revised

Genre a piece for string quartet (2 violins, viola, cello) in character of waltz

Style Neo-Romantic

Duration [2’00”]

Level of difficulty beginner to intermediate

Copyright © 2014-2016 Natalia Pispini

Description

In A major, Tempo di Valse. The composition displays pure lyrical character based on waltz meter ¾ and, at the same time, develops in changeable motion associated with the emotions of ‘expectation’ which is here kind of romantic dreams, hopes and reveries. The contrasting middle section (C minor) of the ternary form ABA1 brings for a while more dramatic sounds.

Performance notes

Although the composition holds the dance rhythm, the manner of playing is a piacere, so the musicians are free to alternate slightly the tempo. (The phrases with wider melody supported by arpeggio chords are the most suitable for slowing down.) The important part of expressiveness in this piece is the legato technique applied to the variations in phrasing.

Look at the score sample

Listen to the midi rendering

! This work may be commissioned or/and performed. If you want to play this piece, please contact Natalia. In your message, kindly provide some information  (brief introduction, collective’s title, website, contact details). The score, parts and all necessary material will be sent to you within a week.

Explore my other works for chamber ensembles

Songs of Spring, on Walt Whitman’s poems for a cappella SATB chorus

 

songs_of_spring_title

  1. The First Dandelion. C major. Adagio
  2. After the Dazzle of Day. B minor – B major. Lento
  3. Out of May’s Shows Selected. G major. Allegretto

Date of composing April 2014; May 2015 – revised; January 2016 – revised

Genre choral songs for mixed chorus SATB a cappella; the second song is for SATB and alto solo

Language English

Style Romantic

Duration [1’43”], [2’21”], [1’52”]

Level of difficulty advanced

Copyrights music: © 2014-2016 Natalia Pispini; lyrics: Walt Whitman’s poems from public domain (credit to http://www.gutenberg.org)

Ideas and inspirations

Composed in spring but in desert scorching environment, the work was inspired by my dreaming of a spring full of fresh colors, fragrant smells and awaking noises. Three short poems by Walt Whitman had been chosen from his great poetic cycle ‘Leaves of Grass’, because of their vivid and picturesque character. They were combined within a cycle with its own evolution of poetical mood. The unity of these songs I could describe as a course of spring with the parallels to some phases of human life. Thus, the music is displaying images from the early spring (1st song with its pale colors, fresh plants, shy emergence, innocence, calmness) through the moment of pause and self-reflection (2nd song) to the late spring (3rd song with its bold colors, grown plants, completed existence, maturity, motion). The alternating focus onto external and internal world creates additional lyrical dramatic contrast within the cycle.

Performance notes

When performed together, it is important to follow up the original tonalities and tempo marks. For the performance notes, score samples and audio samples of each of the songs please click on the references below. Although the songs are intended to be performed as a cycle, it is possible to sing them separately.

The First Dandelion

After the Dazzle of Day

Out of May’s Shows Selected

 

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Out of May’s Shows Selected, on Walt Whitman’s poem for a cappella SATB chorus

From the choral cycle ‘Songs of Spring’, No.2

Date of composing April 2014; May 2015 – revised; January 2016 – revised

Genre choral song for alto solo and mixed chorus SATB a cappella

Language English

Style Romantic

Duration [2’21”]

Level of difficulty advanced

Copyrights music: © 2014-2016 Natalia Pispini; lyrics: Walt Whitman’s poems from public domain (credit to http://www.gutenberg.org)

Description

The song is in B minor – B major, Lento. For the lyrics, I chose ‘After the Dazzle of Day’ poem by Walt Whitman from his ‘The Leaves of Grass’:

After the dazzle of day is gone,

Only the dark, dark night shows to my eyes the stars;

After the clangor of organ majestic, or chorus, or perfect band,

Silent, athwart my soul, moves the symphony true.

The free developing form is based on alternation alto solo and chorus sections. The chorus repeats the poetical phrases sung by the soloist, and only near the end they sing together. The solo and chorus sections have different music by their meter (3/4 vs. 5/8), rhythm (more varied rhythm vs. more monotonous) and melodic contours (wider melody vs. step-by-step moving melody). The vocal ranges are: Alto solo – G3 – B-flat4; Chorus: Soprano – C-sharp4 – F5, Alto – A3 – A-sharp4, Tenor – F-sharp3 – F4, Bass – G-sharp2 – F-sharp3.

Performance notes

The alto solo voice is expected to have deep and rich timbre. The parts for alto solo and alto chorus are composed in such a way, when the best performance could be provided if the soloist is placed near other altos or surrounded by them. The 5/8 meter beats need to be as rhythmically precise as possible. The chorus harmonies contain a number of dissonant combinations.

Look at the score sample

Listen to the midi rendering

! This work may be commissioned or/and performed. If you want to play this piece, please contact Natalia. In your message, kindly provide some information  (brief introduction, collective’s title, website, contact details). The score, parts and all necessary material will be sent to you within a week.

Explore my other choral works

After the Dazzle of Day, on Walt Whitman’s poem for a cappella SATB chorus and alto solo

From the choral cycle ‘Songs of Spring’, No.2

Date of composing April 2014; May 2015 – revised; January 2016 – revised

Genre choral song for alto solo and mixed chorus SATB a cappella

Language English

Style Romantic

Duration [2’21”]

Level of difficulty advanced

Copyrights music: © 2014-2016 Natalia Pispini; lyrics: Walt Whitman’s poems from public domain (credit to http://www.gutenberg.org)

Description

The song is in B minor – B major, Lento. For the lyrics, I chose ‘After the Dazzle of Day’ poem by Walt Whitman from his ‘The Leaves of Grass’:

After the dazzle of day is gone,

Only the dark, dark night shows to my eyes the stars;

After the clangor of organ majestic, or chorus, or perfect band,

Silent, athwart my soul, moves the symphony true.

The free developing form is based on alternation alto solo and chorus sections. The chorus repeats the poetical phrases sung by the soloist, and only near the end they sing together. The solo and chorus sections have different music by their meter (3/4 vs. 5/8), rhythm (more varied rhythm vs. more monotonous) and melodic contours (wider melody vs. step-by-step moving melody). The vocal ranges are: Alto solo – G3 – B-flat4; Chorus: Soprano – C-sharp4 – F5, Alto – A3 – A-sharp4, Tenor – F-sharp3 – F4, Bass – G-sharp2 – F-sharp3.

Performance notes

The alto solo voice is expected to have deep and rich timbre. The parts for alto solo and alto chorus are composed in such a way, when the best performance could be provided if the soloist is placed near other altos or surrounded by them. The 5/8 meter beats need to be as rhythmically precise as possible. The chorus harmonies contain a number of dissonant combinations.

Look at the score sample

Listen to the midi rendering

! This work may be commissioned or/and performed. If you want to play this piece, please contact Natalia. In your message, kindly provide some information  (brief introduction, collective’s title, website, contact details). The score, parts and all necessary material will be sent to you within a week.

Explore my other choral works