Madrid Symphony Orchestra conducted by Enrique García Asensio. Guillermo González as the pianist.
I - Allegro: 0:00
II - Coral: 7:46
III - Allegro deciso: 17:14
Anton García Abríl's Piano Concerto was composed between 1957-63, being commissioned by the Spanish Radiotelevision Orchestra which premiered it on July 18 of 1966, conducted by Enrique García Asensio with Esteban Sánchez Herrero as the pianist. It was the first major orchestral/concertante work of the composer which had recently finished his musical studies.
The piece was extensively revised in 1994, creating a more vivid and imaginative orchestration and the role of the soloist, entrusted with new cadences and passages affording enhanced potential for bravura. This new version was premiered on June 30 of that year, performed by the Madrid Symphony Orchestra conducted by Carlos Kalmar and with Guillermo González as the pianist. As with most of the music of García Abríl, it is greatly influenced by the Spanish musical tradition and is neorromantic in expression.
The first movement begins with a brief orchestral introduction that introduces the melodic material, taken and fleshed out by the soloist in form a vigorous and rhythmic main theme. A more melodic second idea is then introduced by clarinets and oboes, quickly swept aside as the main theme takes centre stage. The ensuing development experiments mostly on different rhythms, specially the guajira. After reaching a lush and rich climax, the development continue until gradually losing steam and tension, as swelling climaxes alternate with lyrical passages. After a brief cadenza for the soloist, the themes and ideas are then recapitulated, before a brilliant and vigorous coda ends the movement.
The second movement opens with solo piano introducing an expressive and contemplative main theme, which is unfolded and transformed in a series of dialogues with the orchestra. It takes the shape of a slow habanera dance, before the dynamics of dialogues continue with a mix of new and previous material, all of it reminiscent of Spanish music. After an expressive climax, another brief cadenza for the soloist offers a chance of show-off their interpretative skills. The main theme is then recapitulated between piano and orchestra, followed by a long but sensuous coda.
The third movement begins with several rhythmic motives and ideas exposed in a similar way as in the first movement, with the preeminence of the guajira rhythm. The tone here is festive, bright and carefree. The development opens with a new theme introduced by the soloist, doubled by the clarinet. It is answered by a more lyrical idea before a timbrical and rhythmic transformation of the material. The theme is then referenced by the wood, being taken by the soloist as it leads into a virtuous cadenza derived from said theme. The materials and motives are then recapitulated, leading us into a coda full of vitality and energy.
Picture: "Peasants" (1952) by the Spanish painter Rafael Zabaleta.
Musical analysis written by myself.
Unfortunately, the score is not available.
21 май 2024
