
	Where results make sense

Topic: Piano concerto

Related Topics

Violin concerto

Piano Concerto for the Left Hand (Ravel)

Harpsichord concerto

Concerto

Piano Concerto (Grieg)

List of compositions by Wolfgang Amadeus Mozart

Musical works of Mozart

List of works by Beethoven

Wolfgang Mozart

Max Reger

Vagn Holmboe

Composer

Symphony

Felix Mendelssohn

Orchestra

In the News (Tue 10 Nov 09)

Northern Trust

Marvin Harrison

Peter Chernin

Gary Locke

Match Play

Penelope Cruz

Mickey Rourke

AR Rahman

Danny Boyle

Hugh Jackman

	Piano Concerto (Grieg) - Wikipedia, the free encyclopedia
		Grieg's concerto is often compared to the Piano Concerto of Robert Schumann — it is in the same key, the opening descending flourish on the piano is similar, and the overall style is considered to be closer to Schumann than any other single composer.
		Grieg had heard Schumann's concerto played by Clara Schumann in Leipzig in 1858, and was greatly influenced by Schumann's style generally, having been taught the piano by Schumann's friend, Ernst Ferdinand Wenzel.
		In the last movement of the concerto, similarities to the springar (a Norwegian folk dance) and imitations of the Hardanger fiddle (the Norwegian folk fiddle) have been detected.
	en.wikipedia.org /wiki/Piano_Concerto_(Grieg) (506 words)

	Piano concerto - Wikipedia, the free encyclopedia
		A piano concerto is a concerto for solo piano and orchestra.
		The piano concerto form survived through the 20th century into the 21st, with examples being written by Béla Bartók, Sergei Prokofiev, Igor Stravinsky, Dmitri Shostakovich, Samuel Barber, Michael Tippett, Witold Lutosławski, György Ligeti, Einojuhani Rautavaara, Leroy Anderson, Philip Glass and others.
		Hyperion's Romantic Piano Concerto Series A project to record and reassess the work of Romantic composers whose contributions to the development of the piano concerto (in some cases entire careers) have been neglected or forgotten.
	en.wikipedia.org /wiki/Piano_concerto (770 words)

	Piano Concerto
		Tchaikovsky's piano concerto No. 1, in B flat Minor, was completed on February 21st, 1875 and had its first performance on October 25th, 1875, in Boston.
		The story of this piano concerto and its ultimate rejection by the man to whom it was dedicated is, perhaps, one of the most famous tales in all of classical music.
		So it was that the performance of Tchaikovsky piano concerto, a performance which was familiar to many in the audience and had arouse them to enthusiasm previously, this time took on an extra measure of inspiration.
	www.geocities.com /Vienna/5648/Piano.htm (761 words)

	Johannes Brahms - Piano Concerto No. 2
		Brahms's second piano concerto was begun in 1878 and completed in July of 1881.
		In contrast to the dismal reception given his first piano concerto, this work was very successful, almost immediately gaining acceptance as a part of the standard repertoire.
		While his youthful D minor concerto had been a brilliant and somewhat autobiographical work, Brahms himself was aware of its shortcomings, most of which resulted from his inexperience in orchestration.
	www.galvestonsymphony.org /composers/JBrahms_PianoConc2.html (802 words)

	:: INKPOT: RACHMANINOV The Second Piano Concerto: An Inktroduction - INKPOT
		As for the concerto's opening string theme, which harkens back to Orthodox plainchant with its step-wise progression and limited range of notes, it is actually a fuller development of the bass line from a linking passage in the finale.
		Rachmaninov handles the relationship between piano and orchestra with great delicacy, allowing the piano to insert six notes of melody between the first two phrases of the clarinet, then reversing these roles by allowing the orchestra to comment between phrases of piano cantilena.
		The "Elegiac" Piano Trios with the Borodin Trio (Chandos)
	inkpot.com /classical/rachpfc2.html (3430 words)

	Sergei Prokofiev's Piano Concerto No.1
		The D flat chords of the latter's First Piano Concerto - one of the most famous opening solo gestures in the repertoire - are here transcribed for strings and brass.
		The piano itself then joins the orchestra in a surging lyrical theme, the kind of theme (and especially the kind of texture) that Tchaikovsky and Rachmaninov likes to reserve for the culmination of a finale; and the kind of theme which seems destined, as this one does, to come to a full stop.
		A pianist's concerto then, and certanily an audience's one, but under the surface this is a composer's concerto too.
	www.geocities.com /Vienna/1891/op10.html (532 words)

	Michael Matthews: Concerto for Piano
		So the opportunity to write a piano concerto was an exciting one, especially since it was to be for the exceptional pianist Jorge Suarez.
		One of the great challenges in a concerto is to solve the difficulty caused by having two resources (ensemble and soloist) with which to present and develop thematic material.
		I designed the concerto in five movements, though it is essentially a modified three movement work, with movements two and four being cadenzas (the first for the orchestra, the second for the soloist).
	michaelmatthews.net /work_details/piano_concerto/piano_concerto.html (317 words)

	Program Notes
		Concertos were played, too, including the five (!) that Mendelssohn produced between 1822 and 1824: one for piano, one for violin, two for two pianos, and the work offered here, for violin and piano.
		The Concerto for Violin and Piano has one foot planted squarely in the tradition of the eighteenth-century concerto, reminding us that Mendelssohn was inherently the most Classical of Romanticists.
		Near the end of this nearly twenty-minute movement (it occupies half the concerto’s total length), the soloists play a cadenza that escalates into a display of counterpoint that is breathtaking—the more so when we recall that this is the composition of a fourteen-year-old.
	www.sfsymphony.org /templates/pgmnote.asp?nodeid=2967&callid=3025 (1790 words)

	RACHMANINOV The Second Piano Concerto: Recordings Survey Part 1 - INKPOT (Site not responding. Last check: 2007-11-07)
		As is the case in many concerto recordings, Rubinstein is placed too far forward in the sound picture, ruining the concertante approach the composer intended and losing some detail in the orchestra.
		Their rendition of the Second Concerto does not want for tension and gains in resolve, especially in its opening measures (has anyone heard the low notes in the left hand tolled as bell-like, or underpin the piano solo quite so solidly?).
		The lower strings are both luscious and melancholy, the piano every bit their equal in both interpretation and sound, and the lower brass a subtle but firm support for the strings, warm-sounding and never strident.
	inkpot.com /classical/rachpfc2r.html (2953 words)

	Piano Concerto #21 by Mozart
		In the concerto, the composer is restricted to the notes he writes to create and project a specific personality for the soloist as distinct from the orchestra.
		The C-major concerto, K.467, was composed as part of an extraordinary string of works produced in just over a year—eight piano concertos altogether between February 1784 and March 1785 (with four more to come before the end of 1786).
		An orchestral tutti sets up the cue for the pianist’s next entrance; the piano starts with what could be the beginning of a heroic gesture—a theme rising in slow notes through the triad—but suddenly it turns again to cheerful laughter (though the horns quietly echo the grand gesture behind the fun).
	www.okcphilharmonic.org /Default.aspx?p=2828 (797 words)

	Classical CD Reviews, Pt.1 DEC03 - AUDIOPHILE AUDITION
		The lines in the F# Minor Concerto are brilliant and supple at once, with some dextrous filigree in the more punishing aspects of the work, like the 9/8 passage in the finale, which makes the most seasoned veterans wince.
		The First Concerto shows the influence of Mozart’s concertos, and is a joyful and happy sounding work which one writer characterized as “Haydn meets Rossini.” While most of his works show an experimental frame of mind, his final three piano concertos expanded the classical form into a very Romantic style.
		Her piano concerto was conceived as a symphony with piano solo.
	www.audaud.com /audaud/DEC03/classical/clcds1.html (1989 words)

	Prokofiev Piano Concerto No. 1
		For the piano, he used powerful chords, rapid legato phrases, successions of chords in octaves in order to obtain a virtuoso counterpoint in the left hand, marked and unexpected contrasts...
		Prokofiev presented the concerto as follows: “a sonata(-form) allegro, with an introduction repeated after the exposition as well as at the end, a short andante before the development, the latter taking the form of a scherzo ending with a cadenza [announced by the entry of the tuba] introducing the recapitulation”.
		I had deliberately left my piano in town, wishing to try to compose without its help ; I had to admit that the thematic material I composed away from the piano was, generally, of better quality...
	www.ivanmoravec.net /albums/al-pr254004.html (2377 words)

	Amazon.com: Bartók: The Three Piano Concertos: Music: Bela Bartok,Esa-Pekka Salonen,Los Angeles Philharmonic ... (Site not responding. Last check: 2007-11-07)
		Having recently praised the beauties of the Pierre Boulez recording of the three Bartók piano concertos each with a different orchestra and soloist (Zimmerman, Grimaud, Andsnes), returning to this wholly satisfying CD with Yefim Bronfman at the keyboard and Esa-Pekka Salonen and the Los Angeles Philharmonic traversing these miraculous concerti is grounding.
		The piano concertos were anything but, smooth and easy to digest, instead they were full of technique and bomb blasting orchestrial music.
		I'll be honest this is the first time I've listened to Bartok's piano concertos and this cd is not even rated in the penguin guide........however, for the clarity and balance of recording, this cd is well due in the guide.
	www.amazon.com /exec/obidos/tg/detail/-/B000002AWA?v=glance (1112 words)

	Brahms Piano Concerto No. 2
		The Concerto was first performed on 9 November that year in Pest with the composer on the piano again as so often before.
		The symphonic claim in this perfect combination of concerto and symphony is manifested by the existence of four, instead of the usual three, movements with a scherzo having been inserted between the first and the slow middle movement.
		It pervades the movement throughout, from the first to the last bars, and is not limited to sonata-form development or the linking and modulation parts of exposition and recapitulation, as it had been in the work of his predecessors.
	www.ivanmoravec.net /albums/al-su1994.html (658 words)

	Roussel: Concerto for Piano, opus 36 (Site not responding. Last check: 2007-11-07)
		The piano concerto took longer to "grow on me" than most of Roussel's works, but I now appreciate it as one of his most forceful pieces, with many similarities in sound with the mighty (and contemporaneous) Psalm 80.
		In the beginning of the concerto (60K WAV file), notice the percussive, unusual role of the piano.
		He was never at his best in writing for the piano, and the concerto of 1928 is an ungrateful work in which the solo instrument is treated largely percussively.
	www.opus1.com /~ehoornaert/roussel/36_piano.htm (608 words)

	Composition Dates of Mozart's Piano Concerto Cadenzas - MozartForum
		Concerto originated December 1773 in Salzburg; Mozart replaced original finale with Rondo K382 in Vienna probably in February 1782.
		These cadenzas appear to be a reworking of a earlier version of which an incomplete 1st piano part to the 3rd movement cadenza--from sometime prior to the finished cadenza-- exists, and was the model for the reworking of the finished cadenza.
		The set might be placed in conjunction with the publication of the Artaria printing of the Concerto in 1785 or recalled for one of the December 1785 Academies of Mozart's in Vienna.
	www.mozartforum.com /VB_forum/showthread.php?t=1022 (1741 words)

	Sheet Music Plus - Sergei Rachmaninoff: Piano Concerto No. 3, Op. 30 - Excerpts (Site not responding. Last check: 2007-11-07)
		Demands from pianists after seeing the movie "Shine" have brought this excepted piano solo version of the Rachmaninoff "Third Piano Concerto" to life.
		Sergei Rachmaninoff: Second Piano Concerto, Opus 18 - Piano Solo Arrangement For solo piano...
		Sergei Rachmaninoff: Piano Concerto #3 For two pianos four-hands...
	wwws.sheetmusicplus.com /sheetmusic/detail/WB.PA9701.html (221 words)

	Concert Premiere Review (Site not responding. Last check: 2007-11-07)
		Being a piano concerto written for Emanuel Ax, Rouse used the opportunity to double the theme of musical/artistic insanity by also linking the work to Robert Schumann, the great Romantic composer and pianist who was also institutionalized for psychosis.
		Later in the concerto this dialectic accelerates and grows more harsh in tone; the moments of beauty are shorter and more poignant as they are immediately seized upon and brutalized by a burst of implacable dissonance.
		The piano here is sparse, uneven, its fragile voice occasionally interacting with sections of the orchestra that emerge from the tense silence for momentary dialogues.
	www.fp1.com /sept98/columns/arts/rouse/rouse.html (1547 words)

	Pro Arte: Mozart; Piano Concerto (Site not responding. Last check: 2007-11-07)
		The concerto style of the day called for the orchestra to play a lengthy ritornello, laying out many of the main themes, before the soloist ever sounded a note alone.
		Mozart is here creating a character for his soloist, almost as if the concerto were an elaborate operatic scene in which the soloist happens to be an instrument rather than a singer.
		One way in which the piano takes on a specific character is in the way Mozart lays out his lavish abundance of musical ideas in the first movement, in such a way that some are restricted to the piano alone, thus differentiating it from the orchestra.
	www.proarte.org /notes/mozart1.htm (456 words)

	Wolfgang Amadeus Mozart - Piano Concerto 21 (Site not responding. Last check: 2007-11-07)
		Mozart's fascination with the piano concerto parallels Europe's interest in the piano itself.
		In the decade that remained of his life, he would produce seventeen piano concerti, many of which now number among the masterpieces of the repertoire.
		It was in March of 1785 that Mozart composed his Concerto no. 21, completing it merely one month after his previous concerto.
	w3.rz-berlin.mpg.de /cmp/mozart_piano_con21.html (434 words)

	Rachmaninoff: Piano Concerto No. 2 in C Minor (Site not responding. Last check: 2007-11-07)
		Concerto No.2 in C Minor for Piano and Orchestra, Op.18.
		Yet for nearly a century it had been an earlier work, the Second, that consistently won accolades and enthralled audiences, and the composer's struggle to complete that concerto is surely as fascinating as that of David Helfgott, the pianist at the center of Shine, to master the Third.
		Rachmaninoff played the piano for the legendary writer, who reacted by saying, ``Tell me, is such music needed by anybody?...
	fmg-www.cs.ucla.edu /geoff/prognotes/rachmaninoff/pianoCon2.html (430 words)

	Grieg: Piano Concerto (Site not responding. Last check: 2007-11-07)
		Nina stayed with her family in Copenhagen while Edvard retired to the country to compose, and by the end of the summer he had finished the solo part of his piano concerto and had outlined the orchestration.
		Grieg was unable to attend due to his commitments with the Oslo orchestra, but the soloist, Edmund Neupert, wrote that ``the three dangerous critics...applauded with all their might,'' and Grieg's friend Benjamin Fedderson informed him that there were ``thunderous chorus[es] of applause'' at numerous instances throughout the work.
		It has since become a favorite with audiences worldwide, and with good reason, for from the unforgettably dramatic opening cadenza to the sweepingly grand final chords, the concerto is filled with invention, originality, and sparkle that cannot help but please the ear.
	fmg-www.cs.ucla.edu /geoff/prognotes/grieg/pianoCon.html (334 words)

	Piano Forums at Piano World: Liszt - 2nd Piano Concerto: need suggestions!
		One critic said, and I agree, that the two (the concerto and Cziffra) seem to be made for each other because of their rhapsodic and extemporaneous nature, almost mercurial and always exciting.
		I think it was his only time playing Mozart in a performance (a piano concerto), and the conductor angered him so much that Cziffra called him a "fat, insolent pig" or something of the sort, before vowing never to play in the country again.
		Then at the climax of this patriotism, Cziffra was invited to play the Bartok concerto to an extremely packed-out hall, and the pure sense of Hungarian nationalism in the moment aggravated the spirit of the audience so much that in the next few days, they started mass rioting in the streets.
	www.pianoworld.com /ubb/ubb/ultimatebb.php?/topic/2/10050.html (1886 words)

	Juilliard Bookstore > Bartok Premieres: Concerto for Piano Number 3 - Concerto for Orchestra - Portrait for Violin ...
		GEÃ—RGY SÃNDOR, a long-term piano pupil of BÃ©la BartÃ³k, gave the world premiere of BartÃ³kâs Third Piano Concerto with Eugene Ormandy and the Philadelphia Orchestra in February 1946 and recorded it for Columbia two months later.
		They are compromised by crude stereo directionality in which the piano is entirely in the right channel, the orchestra largely on the left.
		Also available is a forceful 1967 cycle of Prokofiev piano sonatas (Vox 3500), with a second volume of his solo piano music (Vox 5514).
	bookstore.juilliard.edu /shopping/product_details.php?id=18737 (423 words)

Try your search on: Qwika (all wikis)