Studies 13 (and Study 4 that was subsequently withdrawn) were written for and dedicated to Daniel Browell, for a performance at the 2007 Park Lane Group Series, 8th January 2007, at the Purcell Room, Southbank Centre, London. Studies 4 & 5 were written for Alissa Firsova for the Presteigne Festival Composer Competition 2011. They were given their public premiere by Daniel Browell at the Rodewald Concert Hall, Manchester, on 22nd August 2012.
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Piano studies Philip Venables Duration c.17 minutes
2006 I. II. III.
For chords: weight, legato and stretching
For staccato chords For tremolo
These studies took Debussys tudes as their starting point. Debussys inclination to make piano studies more than just exercises but musically intelligent and expressive pieces influenced me greatly during the composition of these. However, formally, the studies take a simpler, more modernist approach than Debussy did. All the studies are descriptively named in the same vein as Debussys tudes. 2011 IV. V.
Scherzo (for tremolando)
Rondo (for use of pedals)
Unlike the earlier studies, these two studies steer away from technical focal points, however, towards more of a compositional study. Both movements experiment with classical forms, bringing them far away from their original modes of expressions sometimes even subverting them but maintaining some kind of essence of what was there. Out of this I have fashioned what I would consider to be a reflection of the classical form: miniature movements with simple and transparent textures, few ideas and a certain neatness.
PV
Performance notes 1.
These studies can be performed in any order deemed musically sound by the performer. This order is only suggested.
2.
If the stretching is not possible, the chords must be spread as quickly and discreetly as possible.
For chords: weight, legato and stretching
Climbing, with much rubato and poise, q = c. 40
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With great lightness and smoothness
With great depth
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Copyright Philip Venables, 2006
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una corda sempre
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ppp legato sempre
una corda sempre use pedal where necessary to make legato
tre corde sempre use middle pedal to sustain outer lines (all the notes of the outer lines can be depressed before beginning). * The intention is to play the outer lines with the little/outer fingers and the inner tremoli with the thumbs/inner fingers, in order that the outer lines can be sustained without pedal.
