The concerto is dedicated to the American conductor Mario di Bonaventura. The markings of the movements are the following:. Vivace molto ritmico e preciso. Lento e deserto. Vivace cantabile. Allegro risoluto. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, in Graz.
Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, , in the Vienna Konzerthaus with the same conductor and the same pianist.
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina.
The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts two violins, viola, cello and doubles bass can be performed soloistic since they do not contain divisi.
For balance, however, the ensemble playing is recommended, for example first violins, second, violas, cellos, double basses. In the Piano Concerto I realized new concepts of harmony and rhythm. This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed.
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying.
This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form.
The second movement the only slow one amongst five movements also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave.
This mode is transposed into different degrees and it also determines the harmony of the movement. In this movement I used isolated sounds and extreme registers piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone.
The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear the term was coined by Gerhard Kubik in relation to central African music. If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear.
These figures are not played directly. Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for metronomes , in Continuum for harpsichord , in Monument for two pianos , and especially in the first and sixth piano etude Desordre and Automne a Varsovie The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody.
In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups.
The tempered system also allows for the use of the anhemitonic pentatonic scale the black keys of the piano. From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics only minor seconds and the six-tone scale the whole-tone: only major seconds.
Moreover, the division of the octave into four parts only minor thirds and three parts three major thirds is possible. It's completely free to download and try the listed sheet music, but you have to delete the files after 24 hours of trial. Don't forget, if you like the piece of music you have just learned playing , treat the artist with respect, and go buy the original sheet music. Keep Playing! Barbra Streisand born April 24, is an American singer, film and theatre actress.
She has also achieved some note as a composer, political activist, film producer and director. She is one of the most commercially and critically successful female entertainers in modern entertainment history and one of the best selling solo recording artists in the US, with RIAA-certified shipments of over 71 million albums.
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