Ilari Kaila. Taonta. for piano

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1 87 Ilari Kaila Taonta for iano 016

2 Coyright y the Comoser All Rights Reserved No art of this ulication may e coied or reroduced in any form or y any means ithout the rior ermission of the comoser Distriution: Music Finland Music Lirary Urho Kekkosen katu C, 6 th floor FI00100 Helsinki Finland musiclirary@musicfinlandfi musicfinlandfi Helsinki, 018

Ilari Kaila: Taonta (016) v1aug018 I II III IV V Saraande Rosary Xianei: TailBiting Fish Taonta The Caudal Fin Taonta (noun) is Finnish for hammering or forging, and descries the ercussive

existents, oects, truths Xianei is named after a technique in classical Chinese music herey each melodic hrase egins on the final note of the revious hrase; or, literally, each fish ites the tail of

3 Ilari Kaila: Taonta (016) v1aug018 I II III IV V Saraande Rosary Xianei: TailBiting Fish Taonta The Caudal Fin Taonta (noun) is Finnish for hammering or forging, and descries the ercussive martellando music of the fourth, central movement As the title of a suite of character ieces, it can also e read as a un on the amiguous old Greek hrase ta onta, translated variously as eings, existents, oects, truths Xianei is named after a technique in classical Chinese music herey each melodic hrase egins on the final note of the revious hrase; or, literally, each fish ites the tail of the next one The suite finishes ith a Caudal Fin of its on, on a concluding note that rings the cycle of successive, tailiting movements ack to the initial C of the Saraande Rosary and Taonta can oth e layed as standalone ieces; same for the comination of I II Other than that, movements should not e erformed out of context When laying Rosary y itself, the first ass note should e accented: The deculets aove can e interreted freely, from sextulet lus four thirtysecond notes ( ) to an even quintulet lus quintulet Rosary as remiered y ianist Melinda Lee Masur at the Chelsea Music Festival, Ne York, on une 1, 015 (ith the title Preludio) The entire ork as remiered y ianist Emil Holmström at the FinnlandInstitut in Berlin, on Decemer 1, 016 Duration: ca 1'0 Taonta is dedicated to Emil Holmström Hong Kong, Setemer 7, 016

4 U U U senza ed Delicato e luminoso raido, leggiero q = ca 60 U n n U P P cresc () n n n 9 n n n n n n sost ed (grace notes non lv) hesitant F U n U P F 6 n sost ed cresc f TAONTA I Saraande Ilari Kaila (016) Emilille v1aug018

5 7 n iù f diminuendo clear sost ed () 8 n n n n 9 n n 9 9 n n n 9 9 Misurato (semre delicato e luminoso) n P n n sost ed (until m 17) non esr 1 a n n n n a n n n n

6 1 a n n n n n F a n n n n n F oco acc Più moto n g n f n n n g n areggiate ithout reaking racketed notes 17 n n n n n nn n n A A n n g n n nn n n deciso r f sost ed (until m ) 0 n n n n n n n n f suito Poco rit ƒ

7 5 Temo rimo (q = ca 60) f dim sost ed al fine 7 (semre misurato) n 8 n r 9 $ $ r $ attacca

8 6 q = 76 Leggiero, oco meccanico ma con anima Con molto ed: clear edal only as indicated In folloing the motoric figuration ith rhythmic recision, not every note needs to seak II Rosary 6 x oco (until m, as marked) molto x come eco x n n ƒ n x R n n n a R n n n n F n n n n n n n n R n n n n n n n n n SfZ rk 7 R n n n n n n n n cresc 6 x n n n n n n n ƒ n suito

9 7 a a (simile) 9 x a a a a Ø (iano ossiile) 6 x ç x 1 ç crescendo r n n n n r n N n nn n n r R N N 15 N n n a n n semre a n a n

10 8 N x N N 16 N 6 x a n a a Ï n a a n a a n a (do not clear edal here) x (no ga in sound) diminuendo molto 5 x n 19 n n (do not clear edal) Ø n n x n n n n ç x n n n 5 x ( ) ç n n n ç

11 n a a n SfZ 1 x rk 5 x a n n n come eco n n n n 9 n a a n a n n n SfZ 1 x r K n n n n x come eco n F n n R 1 x N N ç rk P 7 x (simile) nn n 6 n n n n n n P R ç 1 x rk r 7 n n x nn n n n Ø n n F molto rit 9 n U 5 x a temo furioso Ï (until end of m 6) n 17 17

12 10 aa a 0 6 a aa 17 a oco a oco diminuendo x x 1 x x n n x n nn n n n N n n x 5 x (oco) nnn n nn n n nn n 6 n n n mormorando (no accents) nn n una corda

13 n n n n n n 7 Meno mosso, non ritardando Leggierissimo e grazioso n 11 sost ed n secco

14 1 III Xianei: TailBiting Fish Ruato h = ca 5 WW W g W P n n n F secco n f calmo W WW A W $ F g n P n n n n ( ) P 6 W WW W quizzical n n n, U F U % n maestoso 7 A W f A W A W n deciso 5 aassionato n n n n f S g N N N F N N f n ƒ

15 1 () 9 WW W gn W n ß f WW W W P Ø 11 secco, leggiero ma meditativo rk cresc n n n f dim senza ed WW W W 1 n n n, W WWW 1 U n g nn n n F U W W WW W W u attacca

16 1

17 IV Taonta 15 Energico, ritmico e reciso h = 86 ƒ ƒ (simile) semre (until m 1, as marked) 5 9 P A A 1 (no ga: tie notes over edal change) ( ) 17 (no ga: tie notes over edal change) A (grace note non lv)

18 16 1 f 5 9 oco dim semre (until m 0) F 7 cresc ƒ ƒ

19 17 1 n n n 5 n n n n (right hand: non diminuendo) n n n semre (until m 57) 9 (right hand: semre ƒ ) n n n n n accents: diminuendo ^ n n 5 n (no accents) n ritardando molto n n n n U U U Ø U

20 18 57 Poco meno mosso h = ca 80 n n ( ) (strong accents) (semre) 61 n n n n ( ) 65 n N n n n g ( ) 69 n n n oco a oco cresc n

21 7 n 77 ç n g n n f n semre (until final measure) n n n n n n 8 87 ß oco iù f ß ß

22 0 90 cresc () 9 n n n n n n accelerando n n n ß ƒ ß () $ 96 n n Temo rimo (h = 86) Ï n ($) 99 martellato n n n n n ç n n n n n n n 10 (come rima: accents ƒf )

23 107 P f ṗ 115 (accented notes: semre f ) eighth notes: oco a oco dim al niente 119 fingers kee moving in eighth notes, touching the keys gradually inaudily 1 non rit U

25 V The Caudal Fin Calmo h = 5 O Ÿ~~~~~ Ÿ~~~~~ (raid) O O Press keys don silently, hold ith sostenuto edal until measure 1 Senza ed R P F Ÿ~~~~~~~~~ cresc 5 5 Ÿ~~~~~~~~ 9 6 f 6 $

26 11 (semre f ) rit U U 7 7 Temo II: q = 8 gently 5 5 Clear sost edal Una corda e con ed () 1 5 g Ÿ~~~~~ g 17 Poco meno mosso q = 76 strong accents P Ÿ~~~~~ ( ) n tre corde oco cresc g F 0 n 5 5 n n

27 5 5 5 R ß R R R oco cresc rit suito Semre meno mosso q = 66 n R R R R ( ) cresc f Ÿ~~~~~ n 5 5 g (slo ar) 8 R $ cresc R R R R F r rit 0 Temo rimo: h = 5 W O O O Ÿ~~~~~~~ ( ) Hold on sost ed until end Ÿ~~~~~~

28 P 8, (C rings on the sost ed) U u U lv al niente

Pietà. Violin, Cello and Piano For the Longleash Trio Duration: 18 Peter Kramer

Pietà. Violin, Cello and Piano For the Longleash Trio Duration: 18 Peter Kramer Pietà Violin, Cello and Piano For the Longleash Trio - - 01 Duration: 1 Peter Kramer PROGRAM NOTE Pietà was written during the Sring and Summer of 01 for Pala Garcia, ohn Poham and Renate Rohlng for the