Piano Concerto
00:04 - First movement
13:47 - Second movement
23:11 - Third Movement
The Piano Concerto is in three movements and is yet another work that is a result of my re-exploration of tonality.
The first movement is in a modified sonata form. The first theme is lyrical and somewhat stately whilst the second theme is more animated and quirky. Development and transformation of the two themes leads to a cadenza before a much transformed recapitulation.
The second movement is languid, reflective and elegiac, consisting entirely of developments based on the string idea first heard and the music of the piano's first entry. A central section quicker in pace explores the themes in more detail. A gentle reprise and further development of the initial themes follows, which then leads to a powerful climax that eventually dies down to a quiet and enigmatic final chord.
The third movement is a decidedly spiky and animated virtuosic romp, with nods to Mozart and Ravel along the way. A coda near the end brings back and develops further, material from the first movement before thunderous octaves for the soloist herald a final cadence.
13:47 - Second movement
23:11 - Third Movement
The Piano Concerto is in three movements and is yet another work that is a result of my re-exploration of tonality.
The first movement is in a modified sonata form. The first theme is lyrical and somewhat stately whilst the second theme is more animated and quirky. Development and transformation of the two themes leads to a cadenza before a much transformed recapitulation.
The second movement is languid, reflective and elegiac, consisting entirely of developments based on the string idea first heard and the music of the piano's first entry. A central section quicker in pace explores the themes in more detail. A gentle reprise and further development of the initial themes follows, which then leads to a powerful climax that eventually dies down to a quiet and enigmatic final chord.
The third movement is a decidedly spiky and animated virtuosic romp, with nods to Mozart and Ravel along the way. A coda near the end brings back and develops further, material from the first movement before thunderous octaves for the soloist herald a final cadence.