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The Concerto for Two Pianos, Jazz Band, and Strings and Percussion is dedicated to the memory of a colleague at Indiana University -- a marvelous pianist and teacher and a great human being -- Sidney Foster.

This is the eighth in a rather unique series of concerti involving the classical music (western art music) area and jazz band. It is the latest in the series (1976) and is in many respects the most individualistic of the lot. Among its unique features are: an unusual instrumentation; the fusion of jazz, rock, folk and art music elements; the combination of improvisational and written elements; the unusual use of conventional and exotic instruments in movement two. There is also the unusual use of the harmonic structure of George Gershwin's "warhorse", I got Rhythm; the cyclical use of material and the totally authentic; and convincing use of the jazz materials by both solo pianist.

Among the basic problems that had to be addressed were the integration of the soloists with the accompanying instrumental forces, achieving balance, and composing a work that is convincing as both jazz and art music.

Once the seed for a large-scale work for two pianos was planted by Charles Webb (the young and dynamic dean of Indian University's School of Music), I followed my established routine of studying as many diverse works in the genre as possible. My own biases and musical tastes led me to return again and again to the Bartok Concerto for Two pianos, percussion and orchestra transcribed by the composer from his Sonata for Two Pianos and Percussion.

Next came the problem of choosing the proper instrumentation for showcasing the two pianos.  Each of the three movements is designed to place the two pianos in a completely different setting: Movement One -- the tow pianos, jazz band and percussion ensemble; Movement Two -- pianos, string orchestra and percussion; and movement Three -- the total forces.

The outside movements are the most heavily jazz influenced and both share a high percentage of the same raw material.  The slow movement  shows the greatest degree of indebtedness to Bartok's concerto, more in instrumental choices and spirit than in content and form. --David Baker

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