Arthur Bliss (1891 - 1975) - Piano Concerto in B-flat major, Op. 58, F. 108 (1938)
I. Allegro con brio [0:00]
II. Adagietto [16:47]
III. Andante maestoso - Molto vivo [27:26]
Peter Donohoe, piano
Royal Scottish National Orchestra, David Lloyd-Jones (2002)
The Piano Concerto in B-flat by Arthur Bliss is a work for piano and orchestra composed in 1938 and premiered in 1939. The piece is in three movements and typically lasts around 38 minutes.
"In 1938 Bliss was an adjudicator at the Ysaÿe International Competition for pianists; in his autobiography As I Remember he recalled that ‘Hearing … so much brilliant playing made me wish to write a work for the instrument myself. I must have put intense concentration into the wish for almost immediately afterwards the opportunity arose’. It came from the British Council, which commissioned Bliss to compose his Piano Concerto to mark British Week at the 1939 New York World’s Fair. The première took place on 10th June that year, with Solomon as the soloist, and the New York Philharmonic Orchestra under Adrian Boult.
As to the character of the concerto, Bliss described it in his own programme note: ‘It was to be played by Solomon and dedicated to the people of the U.S. so obviously it had to be a concerto in the grand manner and what is loosely called "romantic". Surely the Americans are at heart the most romantic in the world’. ‘Grand’ and ‘romantic’ are certainly the key words for it is both. Here is a big-boned work, energetic, ebullient, and forthright, but within this expansive framework there is also room for quieter, more personal emotions portrayed in a rich vein of lyricism. The adjective ‘romantic’ is equally appropriate for a work following in the tradition of concertos by Liszt, Tchaikovsky and Busoni. Indeed the ferocious double octaves at the opening of the work indicate Bliss’s intentions and a virtuoso of a high order is required to fulfill them.
The first movement grows from four principal ideas: first, a dynamic theme sweeping upwards announced by the full orchestra and incorporating a triplet rhythm; secondly, the bitter-sweet fall of a minor ninth on the violins revealing a characteristic fingerprint of Bliss’s which recurs in all three movements; thirdly, a fanfare-like theme which injects a hint of unease into the otherwise urbane mood; fourthly, a theme of calm beauty in marked contrast to the first three. The first three of the themes dominate the development culminating in a climax where, against an exultant violin counter-melody and the piano’s syncopated decoration, the opening theme is heard in the bass of the orchestra. After a cadenza the recapitulation allows the contrasting theme to come into its own. A phrase of utter simplicity opens the Adagietto, the peaceful meditative outer sections of which frame a more animated core. Once more the minor ninth interval is in evidence and the movement closes magically with the piano’s final astringent, questioning chord, answered by the strings’ affirmative answer. A delight in rhythm is apparent in the finale. First, a pizzicato theme for cellos and basses hints expectantly at future possibilities, but is forgotten as the moto-perpetuo-like rondo theme sweeps in. From here on, apart from one brief respite, the pace is relentless and high spirited with cross-rhythms abounding. The episodes are varied in character: one is purposeful and direct, while another has a jazzy, syncopated theme. Time and again, though, the rondo theme is in the background, ever ready to steal the limelight, as when the entire orchestra takes it up fortissimo. As the movement reaches its climax, the pizzicato theme from the start of the movement is revealed as a richly harmonized melody which surges to a majestic close."
(source: Naxos)
15 июн 2024
