I 1

Indignatio


From "Quattuor Columnae Exsistentiae"

 
N. Aguliarnii

               
                    
Adagio inciampando

  
      
       
        
          



     
          
                          
5

   
 
                       
  
  


 
          
9


  
      


Mostly:
The "left hand" is gentle, airy, the movements are smooth, confident.
The "right hand" is sharp, staccato, with hesitations and uncertainty.
Dissonances and instability should not stand out much, but only color the melody.
The pedal is imperceptibly, lightly touching.

2024