Thomas Adès : Concerto for Piano and Orchestra (2018) скачать в хорошем качестве

Thomas Adès : Concerto for Piano and Orchestra (2018)

Thomas Adès (*1971~) : Concerto for Piano and Orchestra (2018) Kirill Gerstein, Piano Thomas Adès, Conductor Boston Symphony Orchestra 0:00 Thomas Adès : Concerto for Piano and Orchestra (2018) 0:03 I. Allegrissimo 7:32 II. Andante gravemente 14:33 III. Allegro giojoso Original recording :    • Concerto for Piano and Orchestra (2018) — ...   Live at Symphony Hall, Boston, on 7 March 2019 Concerto for Piano and Orchestra by Thomas Adès © 2018 by Faber Music Ltd, London Disclaimer: This video is just for promotion, and not for profit. I hold no right to the picture on the video nor the music itself. All rights reserved for the composer and the publisher. Please write me a direct message if you have complaints about this upload concerning copyright issues. In that case, I will delete the video immediately. email: [email protected] The first movement Allegramente opens with a statement of the theme by piano and then tutti. A march-like bridge passage leads to the more expressive second subject, first played by the piano and then taken up by the orchestra. The development section interrogates the first theme before an octave mini-cadenza leads to the recapitulation ff. There is then a solo cadenza based on the second subject, first played tremolo and then over many octaves, the piano joined first by the horn and then by full orchestra. The movement ends with a coda based on the first theme and the march. The second movement Andante gravemente consists of a chordal introduction and a melody, which is joined by a countermelody, and a second idea with a simple falling melody over rising harmony. The first melody reappears, leading to a fortissimo climax, subsiding to a final statement of the original theme and a coda based on the countermelody. The finale Allegro giojoso begins with a three-chord call to arms, and then a tumbling theme for piano and orchestra, which is interrupted by the blustering entry of a clarinet solo, heralding a burlesque canon. There is here a good deal of argument, with frequent differences of opinion as regards key, brought to an end by the call to arms. Eventually the piano takes up a new theme in the style of a ball bouncing down stairs and develops it to a choral climax. The tumbling material is developed, and the call to arms is heard in multiple directions leading to an impasse, a winding down of tempo, and a new slow (Grave) section in three time with a falling theme. This leads to a precipice which the piano falls off with the original tumbling theme, and a coda lining up all the other themes for a final resolution on the call to arms. (Thomas Adès)