Publisher: G Schirmer Inc
Duration: 23 Minutes
Solo: Piano
Orchestra: 2(pic).1+ca.2(Ebcl)+bcl.2(cbn)/4.3Ctpt(2Bbpictpt).3.1/timp.3perc/cel(pf[,syn]).hp/str
Availability: Pianist Alon Goldstein holds the exclusive right to perform this concerto with any orchestra until July 1, 2012
Digital perusal score available from SchirmerOnDemand Short Musical Analysis by the composer:
In three movements performed continuously (attacca).
I - Seance
II - Twilight
III - Exorcism
1st movement — closely related to sonata form with a short introduction in the high strings and a concluding
coda in the tonality of D. (i) The opening haunting motif (the Séance motif) consists of soft high string
slides over an interval of a minor third. It is followed by the soloist's wild entrance cadenza — a hard landing
back from the after life. (ii) The main motif of the exposition is a major second mordent (A-G-A). The
exposition explores this motif through various toccata-like sections morphing the simple motif into a
variety of different themes. Dramatically, the soloist is trying to remember his old favorite repertoire, hence
the allusions to great piano concertos of the past (Ravel, Bach, Prokofiev, Lutoslawski, and Ligeti in the
first movement). As the exposition progresses, it becomes increasingly clear that the afterlife (the pianist)
and our world (the orchestra) cannot fully synchronize and are bound to clash. (iii) The development
begins with an expressive adagio (first soft, then passionate, and soft again). After a return to the opening
'Séance motif,' the development proceeds to a fast section which explores various polymetric, polytonal,
and polyrhythmic combinations of the various motifs of the movement. (iv) In the recapitulation, the
motifs of the entire movement collide more aggressively. The highest point of complexity resolves to four
octaves of the note D in the piano and strings. (v) The coda is the catharsis of the first movement resolving
its harmonic, rhythmic, and emotional conflict.
2nd movement — in modified Rondo Form: A, B, A', B', A'', C, A&B. The ritornellos (A sections) in the
orchestra are of an otherworldly nature alluding to the 'Séance motif.' The solo (B) sections are very simple
and reminiscent of some of the earliest keyboard music we know (like that of the Swedish composer Jan
Pieterszoon Sweelinck). The solo (B) sections represent the pianist's 'return engagement.' After a short
third ritornello (A'') a mischievous scherzo (with hints of Messiaen) in the piano and some percussion leads
back to the 'Séance motif,' now appearing in the woodwinds and not as ghostly as before. The final
ritornello combines the A and B sections in a solemn coda in C major. At the very end of the second
movement 'Séance motif' appears for the last time summoning the last, and most evil, spirit in the concerto.
3rd movement — in A A B form — is an exorcism scene. The last soul conjured will not leave the stage. The
orchestra performs an exorcism ritual (in changing meters but mostly in 13/16 meter) to vanquish it. The
piano fights back (now mostly in 7/8 meter) and does not show signs of fatigue. The orchestra splits up and
the different sections of the orchestra attempt to exorcise the spirit separately. As the sections join forces
again, they finally manage to defeat the demon.
