Luciano Berio, "Concerto for Two Pianos"
Notes From RCA ARL1-1674:
...No such Webernist techniques apply to the Concerto for Two Pianos, a work written during 1972-73 on commission from the New York Philharmonic. On the occasion of its premiere, March 15, 1973, Berio commented: "...the relationship between soloist and orchestra is a problem that must ever be solved anew, and the word 'concerto' can be taken only as a metaphor." The work in fact suggests a highly mobile relationship between soloists and orchestra in that the soloists per se often assume the role of accompanists to individual players from the orchestra. But, despite the "new" relationship between soloists and orchestra, the rhythmic and tonal organization is more traditional. Not only are there rhythmic ostinati reminiscent of the early Stravinsky; there are also strong indications of a G-centered tonality.
The following is a guide to the sequence of events in the concerto:
A cadenza for the solo pianos (subsequently joined by a third orchestral piano) opens the work. This is an extended ruminating, quasi- impressionistic passage interrupted by occasional dissonant outbursts. It is built for the most part on an E pedal point, with passing references to related pitches. The culminating point of the section comes with an insistent repeated tritone motive (E-flat-A) played in a high register, which serves to usher in the orchestra. With its entrance this sonority is sustained. The flute is prominently heard and subsequently continues in a solo passage that expands on the tritone motive in a wide- ranging, rhythmically active portion over an A-flat pedal point. After some brass passages a solo violin comments further on the flute material amidst interjections from percussion and brass. A section of extreme dissonance for full orchestra begins a developmental passage that culminates in a climax suggestive of Ives in its polyrhythmic and polytonal complexity.
A piano cadenza follows with solo interjections from strings, flute, clarinet, trumpet, horn and other instruments. The denouement is approached by way of passages for flute, bass clarinet and tremolo strings (ponticello) revolving around the pitches of C and G. A muted trumpet introduces a climactic tritone passage for full orchestra pounding out the sonority of B-F in an aggressive motor rhythm. Extended piano tremolos follow. Though primarily G-centered, they form part of a polytonal texture in which chords on G, E-flat and A-flat are intermixed and superimposed. The point of final repose is reached with a series of insistent G-major chords played against an undulant background recalling the work's opening measures.
Bruno Canino and Antonio Ballista have been associated with the concerto since its premiere. They were both born in 1936 and have concertized widely as a duo ever since they met as students in Miian in 1953. Their repertoire includes works by Stravinsky, Cage and Pousseur as well as compositions by contemporary Italian composers such as Malipiero, Donatoni and Castiglioni. They have appeared at festivals in Paris, Venice, New York, Zagreb and elsewhere.
Ballista & Canino
-JOSHUA BERRETT
...No such Webernist techniques apply to the Concerto for Two Pianos, a work written during 1972-73 on commission from the New York Philharmonic. On the occasion of its premiere, March 15, 1973, Berio commented: "...the relationship between soloist and orchestra is a problem that must ever be solved anew, and the word 'concerto' can be taken only as a metaphor." The work in fact suggests a highly mobile relationship between soloists and orchestra in that the soloists per se often assume the role of accompanists to individual players from the orchestra. But, despite the "new" relationship between soloists and orchestra, the rhythmic and tonal organization is more traditional. Not only are there rhythmic ostinati reminiscent of the early Stravinsky; there are also strong indications of a G-centered tonality.
The following is a guide to the sequence of events in the concerto:
A cadenza for the solo pianos (subsequently joined by a third orchestral piano) opens the work. This is an extended ruminating, quasi- impressionistic passage interrupted by occasional dissonant outbursts. It is built for the most part on an E pedal point, with passing references to related pitches. The culminating point of the section comes with an insistent repeated tritone motive (E-flat-A) played in a high register, which serves to usher in the orchestra. With its entrance this sonority is sustained. The flute is prominently heard and subsequently continues in a solo passage that expands on the tritone motive in a wide- ranging, rhythmically active portion over an A-flat pedal point. After some brass passages a solo violin comments further on the flute material amidst interjections from percussion and brass. A section of extreme dissonance for full orchestra begins a developmental passage that culminates in a climax suggestive of Ives in its polyrhythmic and polytonal complexity.
A piano cadenza follows with solo interjections from strings, flute, clarinet, trumpet, horn and other instruments. The denouement is approached by way of passages for flute, bass clarinet and tremolo strings (ponticello) revolving around the pitches of C and G. A muted trumpet introduces a climactic tritone passage for full orchestra pounding out the sonority of B-F in an aggressive motor rhythm. Extended piano tremolos follow. Though primarily G-centered, they form part of a polytonal texture in which chords on G, E-flat and A-flat are intermixed and superimposed. The point of final repose is reached with a series of insistent G-major chords played against an undulant background recalling the work's opening measures.
Bruno Canino and Antonio Ballista have been associated with the concerto since its premiere. They were both born in 1936 and have concertized widely as a duo ever since they met as students in Miian in 1953. Their repertoire includes works by Stravinsky, Cage and Pousseur as well as compositions by contemporary Italian composers such as Malipiero, Donatoni and Castiglioni. They have appeared at festivals in Paris, Venice, New York, Zagreb and elsewhere.
Ballista & Canino
-JOSHUA BERRETT
Labels: Avant Garde Project, jodru, Luciano Berio
posted by jodru at 12:01
2 Comments:
THANK YOU, THANK YOU, THANK YOU! This is the only work by Berio I've known and loved since I was a kid, but never actually owned the recording.
Quick question: besides the pianists, what are the details regarding the orchestra and conductor?
London Symphony Orchestra. Luciano Berio, Conductor
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