Update Title: C320F865-68E0-41A4-87DA-85318CC87090

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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

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