PIECES FOR SOLO INSTRUMENT AND ORCHESTRA
Piano Concerto with symphony orchestra (1997)
pf solo-0044-4440-batt (5esec)-archi
Duration: ca 27'
Premiere: 27 IX 1997, Warsaw, „Warsaw Autumn", performers: Peter Jablonsky (pf), Wielka Orkiestra Symfoniczna Polskiego Radia, Antoni Wit, conductor
The „Concerto for piano and orchestra" consists of three movements (attaca):
- Preludium - Andante con moto
- Corale - Largo religiosamenle
- Toccata - Vivacissimo
The piece is dedicated to the excellent pianist Peter Jabłoński.
"The narrative develops very slowly here, and for long stretches. The music is based on a constant, quiet pulse and frequent repetitions of the material. In the first movement (Prelude), the soft, swinging piano motives are accompanied by a long sound plane in the strings. In the second movement (Chorale) in the piano part choral chords quietly build up. Repeated every time in the strings, they climb to ever higher registers. There is here a quote from Benedictus, performed at a key moment by piano solo. In both the first and the second movements the climaxes are broken by moments of quietness, in which there is a sudden reduction in the voices and simplification of the texture. The final movement (Toccata) is the most lively, but here also the accumulation of energy is based primarily on repetition "(Ewa Schreiber, "Ruch muzyczny").
Piano Concerto No. 2 (2011)
pf solo-0000-0000-batt (2esec: timp, tmb c.c., tmt)-archi (126.96.36.199.4)
Duration: ca 22'
Premiere: 14 X 2011, Beata Bilińska (pf), Narodowa Orkiestra Symfoniczna Polskiego Radia w Katowicach, Jacek Kaspszyk, conductor
Fourteen years after the spectacular premiere of his Piano Concerto I, Wojciech Kilar wrote his second concerto for this instrument. The piece was written for piano, string orchestra and percussion. It is a four-movement work of contrasting units:
- Largo funebre
- Allegro tempestoso
- Larghetto riflessivo
- Allegro vivace
The composition starts with a slow, meditative introduction imitating the ringing of bells, suggesting a funereal character. The third movement is similarly reflective, while in opposition to them are the exuberant and dynamic second and fourth movements. The composer's individual musical language is easily recognizable here. The musical material - as in previous works - is strongly limited to an absolute minimum, the composer makes very effective use of various musical elements. Features typical of Kilar's music, such as repetitiveness of themes and musical phrases, and long harmonic-textural planes producing a static flow of musical time are evident in this concerto.
Oda Bela Bartók in memoriam for violin solo and instrumental ensemble (1957)
vno solo-0000-4441-batt (6esec) ar pf
Premiere: XII 1958, Katowice, performers: Wielka Orkiestra Symfoniczna Polskiego Radia, Michał Baranowski (dir), Władysław Wochniak (vn)
„Oda Bela Bartók in memoriam” has the character of a violin concerto, in which the soloist is accompanied by an orchestra formed from brass instruments, percussion, two harps and a piano. It clearly refers to the musical language of Bartók with its boldness in the use of dissonant chords, rhythmic energy, sharp sound. The composer uses 12-tone material in the piece which forms a starting point, but further on it is treated freely.