Piano Concerto - Peter Mennin скачать в хорошем качестве

Piano Concerto - Peter Mennin

Royal Philharmonic Orchestra conducted by Igor Buketoff. John Ogdon as the piano soloist. I - Maestoso - Allegro: 0:00 II - Adagio religioso: 11:14 III - Allegro vivace: 19:42 Mennin's Piano Concerto was composed in 1957, same year as he went to a cultural exchange to the Soviet Union. It was commissioned by George Szell for the Cleveland Orchestra’s 40th Anniversary. It was premiered by said orchestra and conductor in February 1958, with Eunice Podis as the piano soloist. The concerto, divided in three movements, requires a soloist with extraordinary stamina, along with virtuosity of an unusual kind. Rather than following the conventional Romantic concept of a concerto, Mennin’s is more a Baroque concerto gone wild. The first movement opens with an ominous introduction, with a motive that is the basis of the movement, introduced by the brass and fully exposed by the piano. The allegro begins with an energetic and hectic main theme, derived from said motive. The soloist performs in fast toccata-like passages of great intensity, as the primary voice within the largely contrapuntal texture. The solo part is intricately interwoven motivically, but at times alternates with the orchestra in a manner suggestive of a Baroque ritornello. More calm and melodic sections attempt to be formed, but they are swept by the lively dynamism of the soloist. The music rises in a great orchestral climax, followed by a new virtuosic showcase for the pianist that culminates in an extremely fast and powerful cadenza, in which the main motive reappears. A firm coda ends the movement. The second movement begins with the strings with a slow, chromatic opening of great soberness. The soloist presents a melodic contained theme of almost religious nature. Follows a development of these materials through a dense counterpoint. The music is largely reflective in character, and displays an icy, unearthly beauty. A dissonant climax follows with an orchestral tutti. Another pensive section leads to another climax, with an intense declamation from the soloist. A deeply contemplative coda ends the movement. The third movement opens with a rhythmic theme derived from the opening motive, followed by interventions from the pianist. As in the first movement, the piano figurations are designed to produce hard, brittle sonorities. Follows a development on the main theme, energetic and lively in character. The piece builds without let-up until it reaches a climax of unequivocal finality. A decided coda ends the whole work. Picture: "Saint Anatoles" by the American concept artist Will Burns. Musical analysis partially written by myself: Source: https://bit.ly/3KAo46K Unfortunately the score is not available.