Concerto for Piano [parts]

Composed in 2017 on a commission from the Orchestre Royal de Chambre de Wallonie, the Piano Concerto is written in three movements. The orchestration includes strings, wind quintet, trumpet and trombone.

Throughout the work, the piano adopts contrasting roles: at times it leads authoritatively, at others it converses on equal footing with the ensemble, and occasionally it appears in tension or opposition with the orchestra.

The first movement — the most substantial of the three — opens with a solemn orchestral introduction that culminates in a brief piano cadenza, ushering in the fast section. The soloist launches into an ostinato, gradually joined by the orchestra. Additional motifs emerge and interweave to create a polyphonic and rhythmically intricate texture — rich in complexity yet always clearly articulated. This culminates in a first climax, followed by an extended piano cadenza. A new theme appears at its conclusion, forming the basis for the remainder of the movement. The return of the opening material in varied form leads to a virtuosic conclusion.

The second movement begins with a short, meditative flute cadenza, introducing a motif that recurs later. The violins and violas establish a rhythmic, obsessive accompaniment while the cellos present an expressive melody. This passage is repeated with the support of the double bass, and the piano joins in with ethereal figures in the upper register — a dreamlike improvisation echoing the flute’s motif. The piano enters into dialogue with the low strings, supported by a delicate string texture. The wind and brass instruments then reappear to prepare the transition to a central Allegro. Here, the piano introduces rapid semiquaver figures, and the orchestra gradually builds tension through harmonic shifts and vivid orchestration. A lyrical orchestral interlude follows, soon joined by the piano, and the movement closes in a tranquil atmosphere, the soloist restating a principal motif in long note values (an instance of augmentation).

The third movement opens with a repeated rhythmic figure in the double bass. Layer by layer, other elements join until the first theme appears, introduced by the bassoon and then taken up by other instruments. The piano interjects with a repeated bass chord, colouring the texture. The main theme is then taken up fully by the piano. A second theme follows, introduced by the orchestra, while the piano responds with a virtuosic counterpoint in triplet quavers. The remainder of the movement develops and combines all thematic material, building toward a brilliant and triumphant conclusion.

The world premiere took place in Brussels on 30 November 2018, as part of the International Ars Musica Festival, with Frank Braley as soloist and the orchestra conducted by the composer.