The Concerto for Piano and Orchestra is a piano concerto by the British composer Thomas Adès. The work was commissioned by the Boston Symphony Orchestra for the pianist Kirill Gerstein and was completed in 2018. It was first performed by Gerstein and the Boston Symphony Orchestra conducted by the composer at Symphony Hall, Boston, on 7 March 2019. The piece is Adès's second piano concerto following In Seven Days in 2008.[1]
Composition edit
The Piano Concerto has a performance duration of approximately 22 minutes and is cast in three movements in the traditional fast–slow–fast form:
- Allegramente
- Andante gravemente
- Allegro gioioso
Instrumentation edit
The work is scored for solo piano and a large orchestra comprising three flutes (3rd doubling piccolo and alto flute), three oboes (3rd doubling cor anglais), three clarinets (1st in B♭, 2nd in A, and 3rd in B♭ doubling bass clarinet), three bassoons (3rd doubling contrabassoon), four horns, two trumpets, three trombones, tuba, timpani, rototoms, three percussionists, and strings.[1]
Reception edit
Adès's Piano Concerto has been highly praised by music critics. Zoë Madonna of The Boston Globe lauded the world premiere as "an auspicious meeting of giants" between Adès and Gerstein.[2] Aaron Keebaugh of the Boston Classical Review wrote, "Throughout its thirty-minute span, the composer paints a bright sonic picture through thorny dissonances and wild chromatic diversions. Its melodies unfold through quick-changing meters to form asymmetric shapes, with orchestral tuttis never seeming to fall on the beat." He added, "The effect is mesmerizing, and the Concerto for Piano and Orchestra stands as Adès' greatest achievement to date."[3] Anthony Tommasini of The New York Times enthusiastically wrote, "This breathless, 20-minute concerto, structured in three essentially traditional movements (fast, slow, fast), comes across as zesty and accessible. But don't be fooled. Just below the surface, the music sizzles with modernist harmonies, fractured phrases, gaggles of counterpoint and lyrical strands that keep breaking into skittish bits. The finale is a riotous, clattering, assaultive romp. I can’t wait to hear it again."[4] The music was also praised by Alex Ross of The New Yorker.[5]
Reviewing a recording of the work, the music was later praised by the music critics Richard Fairman of the Financial Times[6] and Tom Huizenga of NPR, who declared, "It may be the most attractive concerto so far this century."[7]
Recording edit
A recording of the Piano Concerto's world premiere performance was released on album together with Adès's Totentanz through Deutsche Grammophon on 28 February 2020.[8]
See also edit
References edit
- ^ a b Adès, Thomas (2018). "Concerto for Piano and Orchestra". Faber Music. Retrieved 30 July 2020.
- ^ Madonna, Zoë (8 March 2019). "Adès piano concerto receives impressive world premiere from BSO". The Boston Globe. Retrieved 30 July 2020.
- ^ Keebaugh, Aaron (8 March 2019). "Adès' spiky, exuberant Piano Concerto receives a brilliant world premiere from Gerstein, BSO". Boston Classical Review. Retrieved 30 July 2020.
- ^ Tommasini, Anthony (21 March 2019). "Thomas Adès Brings Fresh Wildness to the Boston Symphony". The New York Times. Retrieved 30 July 2020.
- ^ Ross, Alex (18 March 2019). "The Concerto Challenge: John Adams and Thomas Adès offer new takes on a beloved form". The New Yorker. Retrieved 30 July 2020.
- ^ Fairman, Richard (28 February 2020). "Boston Symphony Orchestra releases Thomas Adès's Concerto for Piano and Orchestra and Totentanz". Financial Times. Retrieved 30 July 2020.
- ^ Huizenga, Tom (28 February 2020). "A New Piano Concerto For The People". Deceptive Cadence. NPR. Retrieved 30 July 2020.
- ^ Barone, Joshua (7 May 2020). "A Pianist Has Cracked a Composer's Code". The New York Times. Retrieved 30 July 2020.