INTERNAL DATA CENTER v2.1 (MySQL)
Home
Upload
CRUDs
Writers
Titles
Title Instruments
Title Categories
Title Sub-Categories
Title Media
Series
Products
Organizations
Performances
Back to WordPress
Home
Titles
C320F865-68E0-41A4-87DA-85318CC87090
Update
Update Title: C320F865-68E0-41A4-87DA-85318CC87090
ID
Titlecode
Title Name
Marketing Copy
Composed for Anthony and Joseph Paratore.
Instrumentation
2 Piano Soli: 2+Picc.2.2.2: 4.2.2.1: Timp.Perc(3).Hp: Str
Commission
Dedication
Program Notes
The Concerto for Two Pianos and Orchestra, composed in 1986 on commission from the Salon Society with admission from the Salon Society with additional funding from the Indiana Arts Commission and the Butler/Holcomb Foundation, is the most recent in a series of works in which I have explored the possibilities of creating a unique and effective hybrid-fusion (beyond commonplace eclecticism) of my varied musical interests. Although each work is strongly influenced by each area, certain personal and musical priorities emerge in every project, often in indirect or subconscious fashion. Works such as Swashbuckler! (orchestra), Howl! and Seven Steps from Hell (symphonic band) became more concerned with an emphasis on my genetic German musical heritage as blended with my direct involvement with the highly strung driving energy of experiemental rock, jazz, and 20th century music. Other works, such as Play Us Chastity on Your Violin (violin concerto), Pygmies I and II (orchestra), and King Ubu (symphonic band), although not at all removed from the above influences, became more concerned with exploring the notion of Italian 'cantabile' (a lasting influence of my teacher, Franchetti) as blended with modernism. A final 'category' that embraces all of my work is a telling fusion of theater, parody, 'wink of the eye' (or 'tongue in the cheek') humor and serious evocation with dramatic impact. As all of my works exhibit 'theatrically' to some extent, my style has becme a kind of autobiographical-programmatic, functional 'shcizophrenia of extremes' as opposed to a more abstract or scholastic approach although the latter, by nature of the art, must emerge from time to time. The concerto exhibits strong influences from all of these areas. However, as the work was composed for the Paratore Brothers (and is dedicated to my Italian wife), it is understandable that an embracing of the 'capriccioso' Italian spirit reigns supreme. Each of the movements deals with this aesthetic at varying levels of directness and intamacy, generating original 'folk-like' melodies, and culminating in a supreme 'cantilena' near the end of the work. Although rhythmic drive, romantic schmaltz, experimental techniques and good natured humor (including a brief reference to Mozart's Two Piano Concerto) are constantly interactive, these aspects seem to form more of a background from which the 'cantabile' irrepressibly emerges (and evolves) time and time again. The orchestration of the work, including double winds and brass, harp, large percussion section and strings, is more of an emphasis on color and compatibility with the soloists rather than the more traditional 'support and dialogue' approach. Many prominent solos are featured throughout the orchestra and the ensemble writing is often quite complex and taxing generating a final fusion -- a unified 'Concerto for Everybody.' Ultimately, while the work operates on many formal, motivic, harmonic and 'inspirational' levels, what should rise to the surface is something we can share with you rather that show off to you. --Michael Schelle
Title Brand
Year Composed
Copyright Number
Copyright Year
Duration
Ensemble Size
Date Created
Date Updated
Inhouse Note
Bsc Code
Text Author
Premier Performance Memo
-Anthony and Joseph Paratore, pianos. Springfield (MA) Symphony Orchestra. 06 May 89.
Recording Credits
Review
Awards
Title Category
Title Movements
Title Grade
Set Series ID
Title Instrument Category Text
Title Sub Category Text
Title Sub Category
Title Instrument Header
Title Grade Text
Clean Url
Save