Prelude, Silence, and Epilogue by Grisha Krivchenia
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$13.25
Prelude, Silence, and Epilogue (2016)
for piano solo
by Grisha Krivchenia
for piano solo
by Grisha Krivchenia
Duration: variable
Prelude, Silence, and Epilogue is a contemplative, serious, and hopeful work. Two short piano pieces frame a period of silence, whose length will be determined by the performer.
“Prelude” can open a particular event, religious service, or memorial. After the event, play “Epilogue”. Observe some intentional period of silence at some point during the gathering.
Alternatively, play the three movements without interruption. The performer or event organizer can speak briefly before the piece begins. Give an approximate time of the period of silence, and (if you wish) a subject of contemplation for that period.
You are also welcome to play any of the individual movements as stand-alone pieces.
Alternatively, play the three movements without interruption. The performer or event organizer can speak briefly before the piece begins. Give an approximate time of the period of silence, and (if you wish) a subject of contemplation for that period.
You are also welcome to play any of the individual movements as stand-alone pieces.
Performance by the composer during a house concert on September 14th, 2016
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Composer's Notes:
Duration: variable, determined by the performer.
Prelude, Silence, and Epilogue premiered at Radical Abacus in Santa Fe, NM on April 23rd, 2016.
The piece premiered at a benefit concert for Migrant Offshore Aid Station, an organization that provides direct aid to refugees who attempt to cross the Mediterranean Sea. John McKissick, the concert curator, suggested that we observe a moment of silence during the evening.
John's suggestion revived an old interest of mine: placing a period of intentional silence between two musical pieces. What best prepares a group for silence? What environment do I want to build in the opening piece? What statement will gently and effectively draw the listener out of silence? What message should they receive?
I explored these questions briefly in earlier pieces. Prelude, Silence, and Epilogue (2000) presents the same structure for solo clarinet. the spaces between (2006) investigates the form for solo cello. This 2016 work for solo piano is distinct from earlier works in that the silence is more intentional, directed towards a particular group contemplation.
I suggest three ways of using this music:
Play the work with sincerity and care. Recognize that group silence is a precious experience and quite rare amid the noise and reactivity of modern life. Please take good care of the music and the silence.
“Prelude” and “Epilogue” are sempre con pedale. I have avoided specific pedal indications, trusting that performers will make good decisions.
Please contact press@grishakrivchenia.com when you use this work in performance. I would like to know more about the way in which you used it. When and where did you perform this work? For what purpose? How was the work received?
Thank you for making time for silence and for the music that surrounds it.
Duration: variable, determined by the performer.
Prelude, Silence, and Epilogue premiered at Radical Abacus in Santa Fe, NM on April 23rd, 2016.
The piece premiered at a benefit concert for Migrant Offshore Aid Station, an organization that provides direct aid to refugees who attempt to cross the Mediterranean Sea. John McKissick, the concert curator, suggested that we observe a moment of silence during the evening.
John's suggestion revived an old interest of mine: placing a period of intentional silence between two musical pieces. What best prepares a group for silence? What environment do I want to build in the opening piece? What statement will gently and effectively draw the listener out of silence? What message should they receive?
I explored these questions briefly in earlier pieces. Prelude, Silence, and Epilogue (2000) presents the same structure for solo clarinet. the spaces between (2006) investigates the form for solo cello. This 2016 work for solo piano is distinct from earlier works in that the silence is more intentional, directed towards a particular group contemplation.
I suggest three ways of using this music:
- “Prelude” can form the musical opening of a particular event, religious service, or memorial. Close the event with “Epilogue”. Observe a concentrated period of silence at some point during the gathering.
- Play the three movements without interruption. The performer or event organizer can speak briefly before the piece begins. Give an approximate time for the period of silence, and (if you wish) an intention of contemplation for that period.
- Play one of the individual movements as a stand-alone piece. In this instance, list the title as “Prelude” or “Epilogue.”
Play the work with sincerity and care. Recognize that group silence is a precious experience and quite rare amid the noise and reactivity of modern life. Please take good care of the music and the silence.
“Prelude” and “Epilogue” are sempre con pedale. I have avoided specific pedal indications, trusting that performers will make good decisions.
Please contact press@grishakrivchenia.com when you use this work in performance. I would like to know more about the way in which you used it. When and where did you perform this work? For what purpose? How was the work received?
Thank you for making time for silence and for the music that surrounds it.
