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Concertino for Piano and Chamber Orchestra
Conductor's score and parts on hire
978-0-19-355798-7
19 June 2003
Price: Available on request
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The three movements are designed to contrast and complement one another. The first, Waltzes and Marches, constantly alternates these two dance genres, sometimes in surprising ways, sometimes so that their differences become indistinct. The second movement, Nocturne, suggests the gentle movement and reflected light of a child's mobile. The last movement is a frenetic (although quite light-textured) Toccata in which the piano plays rapid figuration between the hands almost continuously throughout, ending with a quiet little chorale followed by a last upward flourish and a bang. Forces or CategoryPiano & chamber
orchestraDuration20 minutesDifficultyModerately difficult to DifficultOrchestrationpn solo, 2 fl (II+picc), 2 cl (II+bcl), 2 hn, 2 perc (tamb, sus cym, timb, toy drum, crash cym, tom, vib, glock, temp blk, BD, tri, marac, cas, tbells, whip, w blk), strProgramme Notes The concertino was completed during the summer of 2002, to a commission from Chethams School of Music.
It started life conceived as a sequence
of etudes, all nocturnal in character, in each of which the piano would dictate the course of events and play almost continuously. This plan became modified, however, and the work in its final form is made up not of etudes, but what I think of as genre pieces. There are plenty of features linking the movements. For instance, the first two share similar material built out of chains of thirds, as well as the same formal idea of alternating between two seemingly unrelated thematic strands; in the case of the first movement, waltz-like and march-like metres, in the second flowing lines and static chords. But ultimately the movements are designed to contrast and compliment one another.
The first, Waltzes and Marches, constantly alternates these two dance genres, sometimes in surprising
ways, sometimes so that their differences become indistinct. (This was an idea suggested by Schumann, who does something similar and much better in the last movement of his piano concerto.)
The second movement, Nocturne, is an adaptation of an earlier solo piano piece, Nathaniels Mobile, which tries to suggest the gentle movement and reflected light of a childs mobile, sometimes delicately flowing movement, sometimes static chords.
The last movement is a frenetic (although quite light-textured) Toccata in which the piano plays rapid figuration between the hands almost continuously throughout, ending with a quiet little chorale followed by a last upward flourish and a bang.
© Martin Butler
Reproduced by permission of Oxford University Press
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Martin Butler (b.1960) Martin Butler was born in Romsey, England, in 1960 and studied at the University of Manchester and the Royal Northern College of Music. In 1983 he received a Fulbright Award for study at Princeton University, USA, where he was resident until 1987. From 1998-1999 Martin was Composer-in-Residence at the Institute for Advanced Study at Princeton in the United States. He is currently Professor of Music at the University of Sussex.
Butler's works are widely performed and broadcast both in the UK and abroad.More on Martin Butler from the British Music Information Centre
Martin Butler at the University of Sussex
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