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Biblicals: Concerto in five movements for solo piano, Op.87
Clássico/Peça • 1998
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Biblicals: Concerto in five movements for solo piano
Título por Autor: Carson Cooman: Biblicals: Concerto in five movements for solo piano, Op.87
Instrumentação |
Piano |
Composição para |
Solo |
Tipo de composição |
For a single performer |
movimento(s) |
1 para 5 de 5 |
Editora |
Musik Fabrik |
dificuldade |
Advanced |
duração |
15'0 |
The work is in five movements, each inspired by a different biblical quotation which is quoted in the score before each movement. If possible, these passages should be printed in the program or read aloud before the performance of the work. Each movement is programmatic only in an internal sense. While the movements do not attempt to directly portray the "action" of the passage in a storybook sense, they do attempt to capture the overall affect of the verse. The form of the work is as a concerto for solo piano drawing on a title that has been used in the past by numerous composers. Likewise, although the work does not involve an orchestra, I have titled it "concerto" because it contains elements of a concerto solo part and because of the virtuosity required to perform the work. The work explores a widerange of styles from quasi-lyrical to highly chromatic. Throughout, the work has a rhythmic intensity which should be observed by the performer.
The first movement, Hovering Over the Waters, makes use of an irregular rhythmic pattern introduced in the opening measure and used throughout the work. Irregular and "nervous" rhythms using chromatic intervals pervade the entire movement.
The second movement, Baldhead, is a forceful and loud movement making use of the clash between diatonic and pentatonic clusters. It is relentless in its pounding energy, irregular rhythms, and volume. This movement is dedicated to American composer Daniel Pinkham on the occasion his 75th birthday in 1998. The connection of this movement to Pinkham comes in the superimposition of pentatonic and diatonic clusters, a technique used so well in one of my favorite Pinkham works, Blessings for Organ (1978).
The third movement, Forgiven and Free, presents a tranquil scene involving the building of chords, "standard" and otherwise, through the adding of tones one at a time. Brief chromatic melodies appear and then disappear quickly.
The fourth movement, Under the Sun, makes use of a motive involving four chords over a left hand bass consisting of a major-tenth chord. This motive appears throughout the movement, constantly breaking in and interrupting the action. A variety of irregular rhythmic motives appear throughout as a contrast to the main motive with its strict rhythm. Quotes of nursery rhyme tunes are hidden throughout the movement as well in various forms.
The fifth movement, The Seventh Angel, is a fast and furious tarantella. As the movement flies by a variety of musical ideas emerge and then "disappear into" the main motive again. The music continues to get faster and faster and finally the movement ends with a furious progression from the bottom to top of the piano and then a thunderous unison chord in the lower register.
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