Double Concerto for Piano, Cello and Orchestra

This piece was written to fill a gap in the repertoire for this particular instrumentation. There are many double concertos for violin and piano, but the cello and piano combination has largely been neglected, perhaps due to the difficulties of balancing the instruments within the orchestral context.

The first movement starts gently, with the flute introducing the two-bar phrase that is heard many times subsequently. There is a sense of motion, which suggests we are embarking on a journey. After a brief introduction to the soloists and the other orchestral instruments, we hear the second theme, which by contrast is more still, and is like an echo of a distant memory. This reminiscent feel continues with a development of these themes by the soloists. After this, the music changes direction, and the motion continues at a faster pace. The journey is becoming more perilous, with the harmony getting increasingly discordant to match. We eventually culminate in a major key however, suggesting the bumpy ride is over and safe passage was made. Following this is a lyrical recap of the earlier themes, with the full orchestra joining in later for a triumphant moment. Finally, the piano and cello offer some relaxation at the end of a tiring day.

In a change of pace, the second movement is a lively dance, full of Latin flavours. The percussion backbone, including cabasa, claves, congas, maracas and shakers, keeps the rhythm going throughout. The soloists play a syncopated melody, with the orchestra poking through the gaps. After a brief percussion break, the middle section departs from the Latin feel, and goes on to something more akin to a folk dance. The simple harmony and pedal notes create a drone, over which the piano, cello and first violins play a lilting melody. The solos continue, this time with some free improvisation, and the music becomes increasingly jazzy. The piano then leads us back to a repeat of the earlier Latin sections, with some additional embellishment. One last percussion break signals a whirling conclusion, where the bar length gets shorter and shorter, and all of the instruments come together for a decisive flourish.

For the third movement, we have travelled to a new location. It is undiscovered, tranquil and rich. At first, we hear the soloists with a slow and beautiful introductory theme, followed by the main theme played delicately on the piano. This is repeated, with the horn and cello taking important roles later on. The central section of this movement once again turns a little darker, suggesting there are some perils here too. The rhythms are edgy, and there is an uneasy timbre due to the woodwinds playing parallel intervals. The music builds and becomes more frantic, until we are released into a richly orchestrated variant of the first few bars. The music heads towards its conclusion with a serene extension of the main theme, and variations of other themes from the first two movements. In the conquering finale, we see some virtuoso playing from the soloists, while the orchestra blasts out at full tilt.

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