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Piano Concerto - David Diamond

New York Philharmonic Orchestra conducted by David Diamond. Thomas Schumacher as the soloist. I - Andante - Allegretto - Allegro: 0:00 II - Adagio molto espressivo: 10:42 III - Allegramente: 19:15 David Diamond's Piano Concerto was written between 1949 and 1950. The work was dedicated to the pianist Hortense Monath, who was planning to perform in the premiere before her sudden and untimely death. The work was premiered by Thomas Schumacher with the New York Philharmonic orchestra under the baton of Leonard Bernstein. The World Premiere concert presented also the world premiere of Diamond's Fifth Symphony. In this concerto, while the language is clearly tonal, Diamond already experiments with the overall concerto form and the internal structure of movements, like he would do in a more radical way in the third violin concerto and the flute concerto. It's divided in the traditiona pattern of three movements, but the first movement is a modified sonata form and there's no clear cadenza for the show-off of the soloist, being instead several virtuosistic solo sections. The first movement is written in a modified sonata form. It opens with a brief orchestral introduction, followed by the soloist presenting a meditative theme. The music is developed by the soloist in a continue dialogue with the orchestra. A more active theme is presented, alternating meditative and determined sections in a continous contrast. Then, the meditative theme from the beginning is recapitulated, which leads to a great solo from the soloist. An orchestral interlude leads to a resolutive climax. The themes are recapitulated meditative theme is recapitulated again. A brief but virtuosistic cadenza is performed by the soloist, leading to an orchestral climax that concludes brightly. The second movement is written in a ternary form. It begins with the strings presenting a warm main theme, with a lyrical oboe solo. The entrance of the piano marks the begin of a meditative development. An orchestral interlude seems to lead to a climax but instead the music leaves unresolved. Then, the soloist sustains a lyrical dialogue with the oboe and cellos. The brief middle sections begins with the soloist presenting an energic and vigorous theme, or. Then the soloist returns to the meditative theme of the beginning. A warm coda ends quietly. The third movement is written in a standard sonata form. It opens with an energic and playful main theme, presented by the soloist in a virtuous manner. In contrast, the second theme is more melodic in nature. The development is energic and higly virtuosistic, with sudden orchestral outbursts. Both themes are recapitulated in an inverted way (the second before the main one). After a new orchestral climax, the work ends with a new sudden outburst. Picture: "Dances" (1914-5) by the American painter Arthur Bowen Davies. Historical context and musical analysis wrote by myself in lack of any source