PIANO CONCERTO NO 1 (opus 15). This three-movement concerto was composed in the village of Kingsclere, Berkshire, in 1969-70.

Movement 1 allegro ma non troppo (8’18”) is in sonata form. Most of the musical material is derived from the 12-note theme introduced on clarinets at the outset. A second subject announced by violins immediately following the soloist’s first entry plays a significant role throughout the movement. The piano’s role in the movement is essentially a decorative one, adding virtuoso quality to the texture. The soloist is given a chance to introduce a perky theme of its own at bar 65.

The long exposition gives way to the development which sees soloist and orchestra joining together in a triumphant celebration of the opening subject, now on brass, now on woodwinds, now on strings. The development is rounded off with a slow cadenza for piano -muted violins and violas playing the 12-tone row in counterpoint. The foreshortened recapitulation, a mere 27 bars, sees the oboe reintroducing the main theme, before the piano and timpani round the movement off. 

Movement 2 adagio molto (5’31”) is a hommage à Schőnberg that makes use of chords from the last of Schönberg’s Sechs Kleine Klavierstűcke. After the statement of Schönberg’s chords first by the orchestra then by the soloist, the piano introduces a theme of its own, which the orchestra takes up and extends. Towards the latter part of the movement there is a short scherzando passage followed by a cadenza for solo piano. The movement ends with Schönberg’s chords played pianissimo on high divided strings, the soloist picking out each of the notes that constitute the chords. 

Movement 3 con moto (7’59”) is a rondo allegro with a touch of burlesque. After a rhythmical introduction, the piano introduces the movement’s airy main theme at bar 40. A second theme, which uses longer, syncopated notes, is introduced by piano and winds at bar 75. A third theme, marked lento appassionato on piano and strings, is no stranger, being the concerto’s opening idea, this time in augmentation. Towards the middle of the movement there is a dramatic episode that reconsiders the 12-note idea, with Wagner’s Tristan chord added for good measure. A cadenza for the soloist follows. 

The latter part of the rondo sees the main theme transformed into a sad little waltz, followed by the brief recall of a grand moment from the first movement, the concerto being rounded off by a hasty restatement of the movement’s quirky main idea.

Duration 25 minutes