London, Maida Vale and Greenwich: Deirdre Gribbin (and a CD release)

Tempo ◽  
2013 ◽  
Vol 67 (266) ◽  
pp. 80-82 ◽  
Author(s):  
Paul Conway
Keyword(s):  
Symphony Orchestra ◽  
New Work ◽  
Piano Concerto ◽  
Form Part ◽  
Time Form

Deirdre Gribbin's piano concerto, The Binding of the Years, written between 2009 and 2012, was given its UK première by soloist Finghin Collins with the BBC Symphony Orchestra under Alan Buribayev at a Maida Vale Studio concert on 15 March. Its evocative title refers to the gathering and securing of 52 reeds that symbolized the old years in Aztec culture; that civilization's rituals connected with fire and time form part of the inspiration behind Gribbin's new work.

Arthur Benjamin's Piano Concerto

Tempo ◽  
1952 ◽  
pp. 19-21
Author(s):  
John Cowan
Keyword(s):  
General Public ◽  
New Work ◽  
Musical Form ◽  
Piano Concerto ◽  
Widespread Interest

The solo concerto, and in particular the piano concerto, is still the most popular musical form amongst the general public to-day. Therefore the appearance of a new work of this variety by a well-known composer is inevitably a matter of widespread interest.

scholarly journals Classical Traditions of the Piano Concerto by Ruslan Agababayev

2021 ◽  
Vol 4 (1) ◽  
pp. 130-139
Author(s):  
Parvin Rustamova
Keyword(s):  
21St Century ◽  
Complex Analysis ◽  
Symphony Orchestra ◽  
Research Work ◽  
Scientific Work ◽  
Point Of View ◽  
Specific Work ◽  
Piano Concerto ◽  
Methodological Basis ◽  
Classical Traditions

The article is devoted to the analysis of the concert for piano and symphony orchestra by the modern Azerbaijani composer R. Agababayev. The article is very relevant from the point of view of identifying ways to implement classical traditions in a modern piano concerto of the 21st century. It must be said that in this issue we have found many such stylistic features that testify to the strong reliance of Azerbaijani composers on classical traditions. This article is devoted to the study of identifying the stylistic features of R. Agababayev’s piano concerto in the context of the historical development of this genre. Research methodology. The choice of the methodological basis for this study is due to the above goals and tasks that we set ourselves in the framework of this work. Based on the subject matter of the article, the methodological basis of this scientific work is a complex analysis, which implies the interaction of several research methods at different levels. The basis for the analytical analysis of the piano concerto was a theoretical approach, in which such aspects of the work as the problem of form formation, stylistic features of individual elements of the musical language are subject to research. The scientific novelty of the research lies in the fact that for the first time as special research work is the study and detailed analysis of R. Agababayev’s piano concerto. Conclusions. The main conclusion of our scientific research was to determine the stylistic features of the Azerbaijani piano concert created in the 21st century. Based on the data obtained during the analysis, we were able to determine the main trends and ways of development of this genre at the present stage of the development of Azerbaijani academic music. One of the important, if not decisive, aspect in achieving this kind of goal is to identify issues of preserving and transforming traditions, as well as innovative tendencies in the composer’s solution of a particular work. Single-movement piano concertos have become widespread in academic music since the beginning of the era of romanticism. And in the Azerbaijani one-part piano concerts, connections with romantic traditions are deeply felt. Moreover, in each specific work, these traditions are reflected especially. Since the concert by R. Agababayev demonstrates an interesting and original one-part interpretation, combined with an inner poly-part one, this is a typically romantic tendency associated with the composers’ desire to compress the cycle.

Ernst Toch’s symphonies

Tempo ◽  
2006 ◽  
Vol 60 (235) ◽  
pp. 43-44
Author(s):  
Bret Johnson
Keyword(s):  
New World ◽  
Symphony Orchestra ◽  
Piano Concerto ◽  
Peter Pan ◽  
World Records

TOCH: Complete Symphonies. Rundfunk-Sinfonieorchester Berlin c. Alun Francis. Three CDs, available separately: Nos. 1 and 4: cpo 999 774-2; Nos. 2 and 3: cpo 999 705-2; Nos. 5, 6 and 7: cpo 999 389-2.TOCH: Piano Concerto No. 1, op. 38; Peter Pan, op. 76; Pinnochio Overture; ‘Big Ben’ Variations, op. 62. Todd Crow (pno), NDR Hamburg Symphony Orchestra c. Leon Botstein. New World Records 80609-2.

London, Barbican: Dieter Schnebel, David Sawer

Tempo ◽  
2013 ◽  
Vol 67 (265) ◽  
pp. 83-85
Author(s):  
Paul Conway
Keyword(s):  
Symphony Orchestra ◽  
New Work ◽  
Piano Sonata ◽  
Mezzo Soprano ◽  
German Composer ◽  
Symphonic Work

In a substantial concert at the Barbican Centre on 15 February 2013 the BBC Symphony Orchestra, conducted by Ilan Volkov, presented the British debut of Schubert Fantasia (1978, revised 1989) – senior German composer Dieter Schnebel's subtle reconstruction of one of Schubert's most original piano sonata movements – and the first performance of David Sawer's dramatic scena for mezzo-soprano and baritone soloists and orchestra, Flesh and Blood (2012). Both premières lasted around 25 minutes. Sawer's new work made a satisfying contrast with its Schubertian surroundings. But an even more rewarding, and certainly more congruent, companion to the Schnebel might have been Luciano Berio's Rendering for Orchestra (1990), which reworks the fragments of Schubert's unfinished Tenth Symphony in D major, D936a into a three-movement symphonic work that would have complemented Schnebel's postmodern re-imaginings. It would also have made some fascinating associations with the Viennese master's last completed work in symphonic form: the ‘Great’ C major Symphony, which was heard after the interval. Enough speculating on what might have been; what of the fare that was actually on offer?

scholarly journals Chanting of the inner space: on symphonic and concertante works by Milorad Marinkovic

Muzikologija ◽  
2015 ◽  
pp. 83-117
Author(s):  
Jelena Jankovic-Begus
Keyword(s):  
Role Models ◽  
Chamber Ensemble ◽  
Symphony Orchestra ◽  
Point Of View ◽  
Orthodox Church ◽  
Piano Concerto ◽  
Religious Music ◽  
Instrumental Works ◽  
Instrumental Ensembles

The opus of contemporary Serbian composer Milorad Marinkovic (b. 1976), which encompasses works of choral, chamber, concertante and symphony music, leans towards classical forms of artistic music, Serbian folklore music, and Serbian Orthodox church chant. This paper deals with pieces composed for larger instrumental ensembles: Herojska uvertira (Heroic Overture) for symphony orchestra, Psalmodija (Psalmody) for symphony orchestra, Koncert za klavir i orkestar (Piano concerto) and Mala opera (Little Opera) for chamber ensemble (septet) with prominent soloist parts of flute and clarinet. Special attention is placed on different procedures used by Marinkovic to accomplish wholeness and integration of the musical tissue. This paper observes these pieces as examples of religious music, having in mind the composer?s own understanding of the notion. Among common characteristics of the observed works that justify this point of view are specific single movement forms and the prominent role of main thematic materials, a cyclic principle, and programmatic elements. References to Serbian church chant observed in Marinkovic?s instrumental works are also discussed, especially in parallel with the analogue procedures used by Ljubica Maric (1909- 2003), one of the composer?s role models. Although Marinkovic?s works for instrumental ensembles do not fall into the category of spiritual music in its narrow sense (as defined by the composer himself), in this paper they are nevertheless considered as ?spiritual? in a broader sense, as an expression of the composer?s desire to spiritualize his entire artistic output.

Birmingham, Symphony Hall and Manchester, RNCM: Muldowney's Piano Concerto No. 2 and ‘Serenade’

Tempo ◽  
2003 ◽  
Vol 57 (224) ◽  
pp. 46-47
Author(s):  
Paul Conway
Keyword(s):  
Symphony Orchestra ◽  
80Th Birthday ◽  
Piano Concerto ◽  
The World ◽  
World Premiere

The world première of Dominic Muldowney's Second Piano Concerto on 7 November came as part of a concert marking the 80th birthday of the BBC. The work was fashioned for Angela Hewitt, who was accompanied by the BBC Symphony Orchestra under Leonard Slatkin. Hewitt's core repertoire of Bach, Ravel and Messiaen was reflected in the style of Muldowney's new piece, which married Classical with neo-Classical idioms yet at the same time sounded thoroughly post-modern in its cheerful eclecticism, witty sidesteps and theatrical leaps of imagination.

Norwegian Orchestral Music

Tempo ◽  
2004 ◽  
Vol 58 (229) ◽  
pp. 49-50
Author(s):  
Martin Anderson
Keyword(s):  
Solar Wind ◽  
Symphony Orchestra ◽  
Orchestral Music ◽  
Piano Concerto ◽  
In Memoriam

KLEIBERG: Lamento: Cissi Klein in memoriam1; Symphony No. 1, The Bell Reef2; Kammersymfoni (Symphony No. 2).3 Trondheim Symphony Orchestra c. 1Eivind Aadland, 2Rolf Gupta, 3Christian Eggen. Aurora ACD 5032FLEM: Piano Concerto; Solar Wind; Ultima Thule per Orchestra.1 Sergei Ouryvaev (pno), St Petersburg State Symphony Orchestra c. Alexander Kantorov; 1Bergen Philharmonic Orchestra c. Terje Boye Hansen. Aurora ACDPERSEN: Over Kors og Krone. Oslo Philharmonic Orchestra c. Christian Eggen. Aurora ACD 5029NYSTEDT: Apocalypsis Joannis, op. 115. Mona Julsrud (soprano), James Gilchrist (tenor), Oslo Philharmonic Orchestra and Choir c. Aril Remmereit. Simax PSC 1241 (2-CD set).

Mendelssohn's Second Piano Concerto, Op. 40, and the Origins of his Serenade and Allegro Giojoso, Op. 43

2003 ◽  
Vol 20 (3) ◽  
pp. 358-387
Author(s):  
Marian Wilson Kimber
Keyword(s):  
New Work ◽  
Piano Concerto ◽  
Early Stages ◽  
History Of ◽  
Compositional History

Felix Mendelssohn's Serenade and Allegro giojoso, op. 43, was composed rapidly for his performance in a concert in Leipzig on 2 April 1838. Originally entitled Adagio and Rondo, the concert piece underwent substantial revision before its publication in late February the following year. The autograph sources reveal that Mendelssohn's Piano Concerto No. 2 in D minor, op. 40, composed less than a year before in 1837, influenced the Serenade and Allegro giojoso's musical content. Not only do the two works for piano and orchestra share a key and thematic material, but an extended sketch found in the Mendelssohn Nachlaßß 19 (Staatsbibliothek zu Berlin, Preußßischer Kulturbesitz) was part of the compositional history of the concerto, yet served as the basis for a transition, later rejected, between the Serenade and Allegro giojoso's two movements. Revisions to the Mendelssohn Nachlaßß 30 draft of op. 43 show Mendelssohn working to make his new work more like the D minor concerto. Not only were parts of the early stages of op. 43 derived from op. 40 sketches, but the finished work suggests that Mendelssohn, facing the proof sheets for op. 40 while working on the Serenade and Allegro giojoso, had not yet worked the concerto's musical material out of his artistic consciousness.

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