al mic eS THE COMPLETE PIANO ETUDESPHILIP GLASS THE COMPLETE PIANO ETUDES CHESTER MUSIC LIMITED parted The Mas Sles Go ” Lenten te et ag nrPitted by chester musteLimtreD 11S Bens Sees Leds WIT 3.UK, ee Ditnre Muste SALES LIMITED Dirbuton Cone Newark Rd ary SC Sf 59 2¥ UK te 2.4, 17Wilos Sent Coda Pr NSH 200 a Later eprint art i bene Wy eyeing phon isn niger cai. [died by MARTIN GOLDRAY, MICHAEL RIESMAN and CORY DAVIS. Mac egmedyen Bir Coe photograph by drs Bec ‘or Geren of sa Ae perv ht predic mary tak tte hh comer sandr Te babs ban ely dag int ond pg ae sd ain rho ol ee Per catat an gre t pchingscsseabemnd pp mde mpl ch i not ht at cli Sache i pried ats tes rebel it op pedir he rent ‘Thought pring adn ha a pan ani tc serine bein Ach dal ge pr of ore your ap ale to mat or igh mtd pater nd vl a pn.THE TWENTY ETUDES FOR PIANO were composed during the years from 1991 to 2012. Their final configuration into Book | and Book 2 was determined by the music itself in the course of its composition. Book | (Etudes I-10) had a twin objective — to explore a variety of tempi, textures and piano techniques.At the same time it was meant to serve as a pedagogical tool by which | would improve my piano playing, In these two ways, Book | succeeded very well. earned a great deal about the piano and in the course of learning the music, became a better player. New projects came along and interrupted the work on the Etudes for several years. Perhaps for that reason, when | took up work with the Etudes again | found che music was following a new path. Though | had settled questions ‘of piano technique for myself in Book 1, the music in Book 2 quickly began ‘to suggest a series of new adventures in harmony and structure. In this way, Books | and 2, taken together, suggest a real trajectory that includes a broad range of music and technical ideas. In the end, the Etudes are meant to be appreciated not only by the general listener, but especially by those who have the ability and patience to learn, play and perform the music themselves. Philip Glass 20 October 2014ETUDES FOR PIANO BOOK | ETUDE 1... ETUDE 2... ETUDE 3... ETUDE 4. : ETUDE 6....... ETUDE 6 ETUDE 7. cnnn ETUDE 8 ETUDE 9 cece oe ETUDE 10... 38ETUDES FOR PIANO BOOK 2 ETUDE I! ETUDE 12... ETUDE 13... ETUDE 14 ETUDE 15 ETUDE 16 ETUDE 17....... ETUDE 18.. ETUDE 19. ETUDE 20.There were a number of special events and commissions that facilitated the composition of the Etudes by Philip Glass. The original set of six was composed for Dennis Russell Davies on the occasion of his 50th birthday in 1994. These Etudes were later renumbered as Nos. 2,3, 4, 5,9 and 10. Etude 6 was commissioned in 1994 by WNYC for John Schaefer's new music program under the original title Now, So Long After That Time. Etude 7 was commissioned by the Sydney Festival in 1996, Etudes 12 and 13 were ‘commissioned by Bruce Levingston in 2007 and premiered in New York at Lincoln Center's Alice Tully Hall, Etude 17 was commissioned for the 25th Anniversary of the Menil Collection in Houston, TX, and premiered in 2012, The final three works, Etudes 18, 19 and 20, were commissioned by the Perth International Arts Festival in 2012 in honour of Glass's 75th birthday, and premiered 16 February 2013 ‘A special thanks to Linda Brumbach, who inspired Philip to complete this body of work.ETUDES FOR PIANO BOOK | PHILIP GLASS back to Fig. 2 (with repeats) 8 Cyr ©2014 Ouragen Pe bes Cher Mai forAntri ua. Bf ERE Pace 8 SACEM rer Garmay pm Pot Sanaa Si Seer \eeeatorl Cop Seared Ries Rrback to Fig. 7 _.. (with rpeats)Etude | back to Fig. 14 twits eps)Etude | ii) Par: back to Fig. 21 (with repeats)Etude | [27|a little stowerff] J= 104Etude 2Etude 2 poe rere Ere t > =e i = Se=ssi =:Etude 3 QW yf ty ty ts eS SS es aeEtude 3Etude 3 back to Fig. 5 eats) Cee ete eS inh!Etude 3 (12) << a eT eeEtude 3(2nd time: poco crese.)Etude 4Etude 4 14 mf dim back to Fig. 2 (with repeats)Etude 42Etude 5 2Etude 5 ‘mp poco cresc 2= 132 ale 2Etude 6 4Etude 6 ss 223 84 back to Fig. 5a 25Etude 6 %6PyEtude 7Etude 7 D.C. (with repeats) frome dtr yg tr 23Etude 7 30i] 4=96 Le he he he bekehele behkelele bole fe fe 31Etude 8 orl lis el 2Etude 8b= 144Etude 9 35Etude 9 (6) /=120 tPtrrrtettrttrtreerftt 3637SS SS SS oS = 5) back to Fig. 3 (with repeat) 38Etude 10 back to Fig. 7 fi (with repeat) 39Etude 10 rc 2nd time accel. OOOO SE SSS SOS SS SS back to Fig. 14 (with repeats) 13 mtEtude 10 (17) back to Fig. 15 ais fs fa ___ (with repeat) (21) back to Fig. 19 (with repeats) Aa 4lEtude 10 af sub. Se owres back to Fig. 26) (with repeats) al aEtucle 10 back to Fig. 30133] (withrepeat) 2 OO 35 36 FFF anf su, Sa SS D.S. (Fig. 23) back to Fig. 34[37] (with all repeats (with repeats) and instructions) A BEtude 10 '38| (39) back to Fig. 38 (with repeat) AEtude 10 45ETUDES FOR PIANO BOOK 2 PHILIP GLASSEtude 11 poco crese. 47Etude | rT) poco cresc. 48Etude | 9Etude IEtude |!Etude |! SIEtude 1 3} 3 3 3 3 3 3 a a a 2 2 3J=120 12 sae 54Etude 12Etude 12 56Etude 12 3] dim. (to Fig, 30) 37Etude 12 gl i] 58Etude 12 (a 422 e2ee| 2ze2epleeresleagrasg a 42) molto rit.HJ 168 only f ft Pg apie back to Fig. 1 (with repeat) — Oe ‘. ¥ f | f i vr eeEtude 13 61aEtude 13 back to Fig. 12(15] (with repeat) “5 a EB EE ino 8Etude [3 {18 TRE PTP PRPS PP FE FF poco rit. Sspp Sempresim Hs p——————_p_sempresin. =p —————_p_sempresin. 65Etude 14 _p—————————_p_sempresin. cet ftir, (= a z a i $$ p_sempresio. back to Fig. 6 8) — {with repeat) 6 La ee 66Etude |4 —————— mp: ‘Pp sempre sim. se Os 8 ee eS oT 7 Pp sempre sim. 7Etude 14 (p Senprosim TT ——— ————p_sompresim, ——- pochiss. rit. 16) semprep ~—————p__semprosim | PP sempresin. I | 17)Etude 14 ao sempre sim. (13) P——————————— pp) sempresin pp presin 20) a PP . ve Pp sompresin. —s—_ 21 molto rit. i ——— aS a eS a oback to Fig. 4 (with repeat) 70Etude 15 back to Fig. 4 (with repeat) 1Etude |5 nEtude 15 back to Fig. 8 BEtude 15 "4Etude 15 back to Fig. 12 (with repeat) 3 3 3 4 Se 75Etude 15, 7%Etude 15Etude |S '25| Tempo primo (J = 120)Etude 1S back to Fig. 25, (with repeat)Etude 16 {9| Pia mosso d=95) Tempo primo (= 92) (12)82Etude 17 [6] slower (= 112) v mp 85Etude 17 [0] A little faster (J = 116) 6Etude 17 a7Etude 17 20) Broader (J = 96) nf + F. (21| Faster Sfsost ee ca Seen [22|Tempo primo (J = 132) ke: ~~ CO st ome PEtude 17 oF tS ey ey SY bet te ee eeEtude 17 25) Cae 27 eS eZ [26] Broader again (= 104) en eas. hie ht eg es 6| Etude 17 a satel 32| rit, (2nd time) a 91lil) =96 —— he So eS ot 2Etude 18 mp SS OSE BEtude 18 li-e8 rit, (2nd time) PP FINE95Bude 19 %6Etude 19 me. poco rit, _ ag 3s 8 3s 8 coo : = we F Ss 3 ”Etude 19 [19] Tempo primo « - 96) 3 e 2 3 %: 2Etude 19Etude 19 oo{22| Faster J = 104 poco rit. 101Etude 20Etude 20Etude 20(24| slower (J = 66) ——~ —. . pochissimo accel. Bl a <> Bg)Slower = 60) FINE 106 soresGLASS PIANO ETUDES