Liner Notes
Cat. No. NWCRL440
Release Date: 2011-03-15
American Composers Orchestra; Gunther Schuller, Conductor; Robert Miller, piano
John Harbison writes:
“The Piano Concerto began in the margins of another piece, and it wasn't until one third of the first movement had appeared that I began to give full attention to it. At that point phrases existed like lines for a poem not yet assigned their special place in the flow. The phrase which forms the piano's third entrance became the predominant image; the movement became a fantasy upon that melody, with the piano's first two phrases assuming a more introductory character. answered by orchestral refrains. The expressive goal for the movement is the solo 'cadenza.' which meditates on motives from the main melody. introducing some new thoughts at its climax.
“The notion of a fantasy need not suggest looseness, but a kind of discovered form with its own rigors and rewards.
“The second movement presents a more straightforward continuity, exploring more openly the colors of the solo instrument and the orchestra. The complementary ideals orchestra- as-piano and piano-as-orchestra, so appealing to the composers of the early nineteenth century are recalled here from a new vantage point. The mystery and magic of the piano lie in the pedal, and the 'romanticism' for this concerto lies in its diffusion of piano pedal sonorities through the whole orchestra.
David Stock writes:
“Inner Space was written during a period of change and growth in my life and is to a great extent conditioned by it. It was begun in the spring of 1971, but because of several interruptions, was not completed until the fall of 1973.
“As a conductor and a former trumpet player, I have always thought of the orchestra as my natural home. I had temporarily abandoned it with great reluctance, and returned to it with pleasure. Primarily because of the difficulties involved in obtaining performances, I had not written an orchestral work in eight years; therefore, my original plan was to make Inner Space playable by the many fine part-time professional and semiprofessional ensembles that proliferate in the U.S. As the work developed, however, it became clear that the musical material demanded treatment beyond the technical means of such orchestras.
This title, originally issued on the CRI label, is now available as a burn-on-demand CD (CD-R) or download in MP3/320, FLAC or WAV formats. CD-Rs come in a protective sleeve; no print booklet or jewel case included. Liner notes are accessible via the link above.
John Harbison writes:
“The Piano Concerto began in the margins of another piece, and it wasn't until one third of the first movement had appeared that I began to give full attention to it. At that point phrases existed like lines for a poem not yet assigned their special place in the flow. The phrase which forms the piano's third entrance became the predominant image; the movement became a fantasy upon that melody, with the piano's first two phrases assuming a more introductory character. answered by orchestral refrains. The expressive goal for the movement is the solo 'cadenza.' which meditates on motives from the main melody. introducing some new thoughts at its climax.
“The notion of a fantasy need not suggest looseness, but a kind of discovered form with its own rigors and rewards.
“The second movement presents a more straightforward continuity, exploring more openly the colors of the solo instrument and the orchestra. The complementary ideals orchestra- as-piano and piano-as-orchestra, so appealing to the composers of the early nineteenth century are recalled here from a new vantage point. The mystery and magic of the piano lie in the pedal, and the 'romanticism' for this concerto lies in its diffusion of piano pedal sonorities through the whole orchestra.
David Stock writes:
“Inner Space was written during a period of change and growth in my life and is to a great extent conditioned by it. It was begun in the spring of 1971, but because of several interruptions, was not completed until the fall of 1973.
“As a conductor and a former trumpet player, I have always thought of the orchestra as my natural home. I had temporarily abandoned it with great reluctance, and returned to it with pleasure. Primarily because of the difficulties involved in obtaining performances, I had not written an orchestral work in eight years; therefore, my original plan was to make Inner Space playable by the many fine part-time professional and semiprofessional ensembles that proliferate in the U.S. As the work developed, however, it became clear that the musical material demanded treatment beyond the technical means of such orchestras.
This title, originally issued on the CRI label, is now available as a burn-on-demand CD (CD-R) or download in MP3/320, FLAC or WAV formats. CD-Rs come in a protective sleeve; no print booklet or jewel case included. Liner notes are accessible via the link above.
Harbison: Piano Concerto & Stock: Inner Space
| MP3/320 | $7.99 | |
| FLAC | $7.99 | |
| WAV | $7.99 | |
| CD-R | $7.99 |
A *.pdf of the notes may be accessed here free of charge.
Track Listing
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Piano Concerto: I. Moderato cantabile
John Harbison
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Buy
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Piano Concerto: II. Alla marcia ‰ÛÒ alla canzona ‰ÛÒ alla danza
John Harbison
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Buy
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Inner Space
David Stock
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Buy
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