-
D AV I D M A S L A N K A
F O RS O L O P I A N O
Beloved
-
m u s i c f o r s o l o p i a n o b y dav i d m a s l a n k
a
Concerto for Piano, Winds, and Percussion • 1976Concerto No. 2
for Piano, Winds, and Percussion • 2002Piano Song • 1978Variations
on a Medieval Tune • 1997Beloved • 2013
-
B E L OV E Dfor solo piano
-
M A S L A N K A P R E S S
N E W YO R K
(2013)
D AV I D M A S L A N K A
BelovedF O R
S O L O P I A N O
-
Copyright © 2013 by Maslanka Press
Version 1.0
All rights reserved. No part of this work may be reproduced in
any form or by any means without permission from the publisher.
Individuals who purchase the music may create a physical or
electronic copy for personal backup or ease of use.
David Maslanka and Maslanka Press are members of the American
Society for Composers, Authors and Publishers (asca p). Public
performances of this work must be licensed through asca p. See
www.ascap.com for more information.
First published in 2013 by Maslanka Press.
m asl a n k a pr ess420 West Fifty-sixth Street #10New York
City, n y 10019 usawww.maslankapress.com
This is the initial release of this work. Any errata may be
found on this work’s page at www.maslankapress.com.
mp-2013.08-1.0-ps
Designed, engraved, and printed in the United States.∞
-
Duration: 5́ 30́´ (approximate)
Program Note v
Beloved 3
Contents
-
v
Beloved grows out of my current mode of “remembrance” pieces.
These include Requiem for wind ensemble, A Solemn Music for solo
marimba, and Remember Me for violoncello and nineteen players. Each
of these pieces has the quality of resolution of deep issues of
past trauma or grief, both my own, and some element of huge world
traumas such as Hiroshima or the Holocaust. Beloved feels both
personal, and larger than personal. It has the quality of one side
of a conversation – what you have to say to your beloved,
especially one departed. (September 2013)
david m aslank a
Program note
Beloved was written for Nicholas Phillips.
-
B E L OV E Dfor solo piano
-
3
{
{
{
{
mp pp
Quite freely (q = ca. 44)
no ped.
una corda
P
slowing ten.
4
P(u.c.)
P
slowly
ad lib. accel.
7
P(u.c.)
mp mf
q = ca. 66 stretch a bit9
Ptre
cord.
4
4
4
4
2
4
4
4
2
4
4
4
6
4
6
4
6
4
3
4
5
4
6
4
3
4
5
4
&
long
u
U
let
dim. to
long
u
U
long
u
U
?
U U
*
U
&
long
U
u
œ
œœ#
œ
?
U
*
∑
7
œ
œ
œ
œ
œ#
œ
&
– ?&
œ#
œ#
œ#
œ#œ
œ#
œ
œ
œœ
œ#
œ
œ
œ#
œ
œ
œ#
?
6
7
7
7
œ#
œ
œ
œ
œ
œ#
œ œ
œ
œ
œ
œ
œ
œ
œ#
œ
œ
œ#
&
?
p3
9
w#
Ó ‰ œ
j
ww
œ#œœœ Ó ‰ œ
j
w#
œ#œœœ Ó ‰ œ
j
œ#œœœ
w
w
w
#
w
w
w
w
w
w
œ#œ ™˙ ™ œ
j
œ#œ
œ
œ
œ#™
œ#
œ
j
˙ ™ œœ
˙
˙
˙™™™
≈
˙#
˙# ™ œ œ œ w#
œ
œ œ œœnœœ ˙
ÆœJ
œnÆœJ œ# Æœ
J
œn
œœœ
ÆœJ
œ
œ
j
œœœ
˙
˙#
#™™
w ™œœ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ#
œ
œn
œ
œ
œ
˙#
˙
œ
œ
œ
œ
œ
œ
œ
œ#
œ
-
4
{
{
{
{
p cresc.
in tempo push ahead
ten.
11
P
ff
in tempo push ahead q = ca. 8813
dim. grad.
ten. in tempo
holding back
ad lib.
in tempoten.
16
P
P
li ped. grad.
(dim.) pp
slowing slowing
even more
19
(no ped.) una corda to end of piece
5
4
2
4
4
4
5
4
2
4
4
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
2
4
5
4
4
4
3
4
2
4
5
4
4
4
3
4
3
4
5
4
4
4
6
4
3
4
5
4
4
4
6
4
&
—f
—#
#
#
>
>
?
?
#
>
?
L H
&
n>
n
>>
>
>
> >
?
—–
P>
*P * P>
>
>
>
&
#
#
>
>
>>
>
> >>>
>>>
>
>
> >
>
>
?
œœ
?
*
>
>>
>
>
>
>>>
>
>
>
*
>
œ
?
U
&
?
#
U
œ
≈
œ
j œ
j
œ
œ œ œ
Ϫ
J
œœœn œ ™
œ
œ
œn
œ
œœ
œ
œ
œœœ
œ
œ
œ#
œœ
œ
œ
œœ#
œ
œ
˙
≈
œ
j œ
j
œ œ œœœœn ˙
™œ
œ
œn
œ
œ
œ
œ#
œ#
œœ#
œ
œ
œœ#
œ
œ
≈
≈
w
œ
œ
œ
œ#
œn
j
œ
œ# œ
˙™
œ
œœœ œ
œœ
œ
œœœ
œ
œ#
# ™™™™ ≈≈œ
œ
œ
œ#
œ
j
œ
œ# œ
˙™
œ
œœœ œ
œœ
œ
œ
œ
œœ
w
w
œ ™™œ
œ
R
w
w
œ
r
w
œ ™œœœœœœœœ
J
≈
œnœ
≈
w#
œ
œœ#
œ
œœ#œœ
œ
œ
œ#
#
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œœ#
œ
œ#œœ
œ
œ
œ#
œ
œœœ
œ
œ
™™™™
œ
R
œ ™œ
œ
œ
œ
w
w
‰
œ
œ ™œ#
j
œ
œ
œœœ
œ#œœ
œ œ
œœœ# œ ™™
œ
rœ
œ ™
Œ
œ
œœœ# ˙
‰™ ˙
™œ
R
œ ™œœw#
˙ w
w
œ
œ œ#œ
œw#
œ
œœœ# ˙ ˙ ™
Ó ‰™œ
r
˙
œ ™™ wœR
œ
œ
˙ ™ œœ œ# œ œ w#
B E L O V E D
-
5
{
{
{
{
{* Do not arpeggiate these chords. If the tenth is impractical,
the octave may be played instead.
pp
Slowly; tempo ad lib.
ten. ten. ten.
24
P ad lib.(u.c.) > P sempre
pp sempre
Very delicately (q = ca. 112)28
(P)
33
(P)
38
(P)
42
P
6
4
4
4
3
4
6
4
4
4
3
4
3
4
3
4
&
, , ,
——––
long
U
?
S*
@ ?——––
S @ ?U
&
&
œ# œ#
&
œ œ
&
–œ# œ#
&
œ œ
œ#
œ
&
œ#
&
œ
œ#
œ
&
–œ œ
&
œ# œ#
˙˙
˙#
#w
w
w
˙˙
˙#
#w
w
w
w
w
w
w
#
w
w
w
w
#
#
˙
˙
#
w
w
w˙
˙
#
w
w
w
w
w
%w#w
w
%w##
œ#
œ#
œ
œ#
œ#
œ#
œ
œ#
œ#
œ#
œ
œ#
œ#
œ
œ#
œ#
œ
œ#
œ#
œ
œ#
œ#
œ
œ#
œ#
œ
œ
œ#
œ#
œ#
œ
œ#
œ# ™ œ ™ œ ™ œ# ™
œ#
œ#
œ
œ#
œ#
œ
œ#
œ#
œ
œ#
œ#
œ
œ#
œ#
œ
œ#
œ#
œ#
œ#
œ#
œ
œ#
Œ
œ# ™œ
J
˙ ™
œ
œ#
œ#
œ
œ#
œ#
œ
œ#
œ#
œ
œ#
œ#
œ
œ#
œ#
œ#
˙™
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ#
œ
œ
œ
œ
œ
œ#
œ
œ
B E L O V E D
-
6
{
{
{
{
{
46
P(u.c.) >
51
(P)
56
(P)
60
P
65
(P)
&
–œ# œ#
&
œ œ
&
–œ# œ#
&
œ œ
œ#
œ
&
œ#
&
œ
œ#
œ
&
–”“ (loco)
&
œ
œ#
œ
œ#
œ
œ
&
&
˙# ™œ
œ#
œ#
œ#
œ
œ#
œ#
œ#
œ#
œ#
œ
œ#
œ#
œ
œ#
œ#
œ
œ#
œ#
œ
œ#
œ#
œ
œ#
œ#
œ
œ
œ#
œ#
œ#
œ
œ#
œ# ™ œ ™ œ ™ œ# ™
œ#
œ#
œ
œ#
œ#
œ
œ#
œ#
œ
œ#
œ#
œ
œ#
œ#
œ
œ#
œ#
œ#
œ#
œ#
œ
œ#
Œ
œ# ™œ
J
˙ ™
œ
œ#
œ#
œ
œ#
œ#
œ
œ#
œ#
œ
œ#
œ#
œ
œ#
œ#
œ#
œ# ™ œ ™ œ# ™ œ ™œ
œ#
œ
œ#
œ
œ
œ
œ
œ
œ#
œ
œ
œ
œ
œ
œ
œ#
œ
œ#
œ
œ
œ
œ#
œ
œ
œ#
œ
œ
œ
œ
œ
œ#
œ
œ
œ
œ
œ
œ
œ
œ
œ
Ϫ
œ
J
œ
œ
œ
Jœ
œ
J
œ
œ
œ
œ œ™
œ
J
œ#
œ
œ
œ
œ
œ
œ
œ
œ#
œ
œ
œ
œ
œ#
œ
œ
œ
œ
œ
œ#
œ
œ
œ
œ
B E L O V E D
-
7
{
{
{
{
{
69
P(u.c.) > P
74
P P
78
(P)
slowing gradually slowing a lot
82
(P)
Slower (q = ca. 66) slowing87
P
4
4
2
4
4
4
2
4
2
4
3
4
4
4
2
4
3
4
4
4
&
—–”“
loco
œ
&
œ
&
”“
&
&
“: ; loco?
&
?
?
?
‘“
?
∑ ∑
&
—–U”“
?
—“: ;
loco
∑ ∑
U
œ#
œ#
œ
œ
œ
œ œ œ#
œ#
œ
œ
œ œ œ#
œ#
J
œ œ
J
œ
œ
Œ
œœ#
œ
œ#
œ
J
œ
œ
J
œ
œ
œ
œ
J
œ
œ
J
œ
œ#
œ
œ#œ
œ#œ
œœ#
œ
œ#œ
Œ
œ
Jœ ™ œ
œ
œ
œ
œ œ
œ
Jœ ™
Œ
œ#
J œ#™
œ
œœ#
œ
œœ#
œ
œ#œ
œœ
œ
œ
œ
œ#
œ
œœ
œ
œ#
œ#
œ
œ#
œ#
œ#
J œ#™
œ
œ#
œ#
œ
œ#
œ
œ
œ#
œ#
œ#
œ
œ
œ
œ#
œ
œ#
œ#
œ
œ
œ
œ
œ#
œ#
œ
œ#
œ#
œ#
œ#
œ
œ
œ
œ#
œ
œ#
œ#
œ
œ
œ
œ#
œ
œ#
œ
œ
œ#
œ#
œ
œ#
œ
œ
œ#
œ#
œ#
œ
œ
œ
œ#
œ#
œ
œ#
œ
œ
œ
œ#
œ
œ#
œ
œ
œ
œ#
œ
œ#
œ
œ#
œ#
œ
œ
œ
œ#
œ
œ#
œ#
œ
œ
œ
œ#
œ#
œ
œ
œ
œ
œ#
œ#
œ
œ
œ
œ
œ#
œ
œ
œ#
œ#
j
œœ#
œ#™ œ#
J
œ
œ
œ
œ
#
#
w
w
#
#
˙
‰
œ#
j
œœ#
œ#™ œ#
J
œœ#
œ# ™
B E L O V E D
-
David Maslanka was born in New Bedford, Massachusetts in 1943.
He attended the Oberlin College Conservatory where he studied
composition with Joseph Wood. He spent a year at the Mozarte-um in
Salzburg, Austria, and did masters and doctoral study in
composition at Michigan State University where his principal
teacher was H. Owen Reed.
Maslanka’s music for winds has become especially well known.
Among his forty-plus works for wind ensemble and band are
Symphonies 2, 3, 4, 5, 7, 8, and 9, twelve concertos, a Mass, and
many concert pieces. His wind chamber music includes four wind
quintets, four saxophone quartets, and many works for solo
in-strument and piano. In addition, he has written a variety of
or-chestral and choral pieces.
David Maslanka’s compositions are published by Maslanka Press,
Carl Fischer, Inc., Kjos Music Company, Marimba Pro-ductions, Inc.,
and OU Percussion Press, and have been recorded on Albany,
Reference Recordings, BIS (Sweden), Naxos, Cambria, CRI, Mark,
Novisse, AUR, Cafua (Japan), Brain Music (Japan), Barking Dog, and
Klavier labels. He has served on the faculties of the State
University of New York at Geneseo, Sarah Lawrence College, New York
University, and Kingsborough Community College of the City
University of New York, and since 1990 has been a freelance
composer. He now lives in Missoula, Montana. David Maslanka is a
member of a s c a p.
About the Composer
-
∞
This publication was designed, engraved, and typeset by Matthew
Maslanka in New York City,
and then printed and bound by Black Ribbon Printing in Castle
Rock, Colorado.
The music was engraved using Sibelius 7 (v. 7.1.3),which was
released by Avid Technology, Inc. in September 2012.
The music face is Opus Std., designed by Jonathan Finn.This is
the OpenType version of Finn’s original Opus type
issued with the original Acorn Archimedes release of Sibelius 7
by Sibelius Software, Ltd., London, uk , in 1993.
The front matter was typeset using InDesign c s 6 (v. 8.0.1)It
was released by Adobe Systems Inc., Mountain View, California in
May 2012.
The text face is Minion Pro, designed by Robert Slimbach.This is
an enlargement and revision of Slimbach’s original Minion type
issued by Adobe Systems Inc., Mountain View, California, in
1989.
The cover is Sundance Harvest Yellow Linen Digital Finish, 80c,
f s c .The interior paper is Classic Crest Classic Natural White
Smooth, 70t, f s c .
The paper is made by Neenah Paper, Inc. in Wisconsin. It is of
archival quality, acid free, and made in a carbon neutral
process.
∞
