D E
Login
Price: € 16.00
WWE 1CD 20241
José Luis Turino
piano concerto & violin concerto
1
Concierto para piano y orquesta 33:06
2
Concierto para violin y orquesta 34:52
Total Time 01:07:58
When composing his Concierto para piano y orquesta, the Spanish composer José Luis Turina was particularly interested in the “non-symphonic nature of the piano” because of the instrument’s special “sonic disparity”, which, say, a violin lacks. After all, the violin can always return to the fold of the full orchestra, whereas the piano soloist never leaves the limelight. It should then be no surprise that the three (through-composed) movements of the concerto with its contrasting musical forms and the convoluted stretta in the end confront the pianist with extraordinary challenges. In his Concierto para violín y orquesta, Turina treats the solo instrument in a great variety of ways. In the first of the three movements, he establishes the contrast between noise and music as the principal building block. The second movement, whose main section is composed in twelve-tone technique, has the character of a scherzo. The original contrast returns in the finale, and, “as a last gesture of humility, the soloist lowers the bow and returns to the orchestra: He thumps and hammers on his instrument as the orchestra gradually retreats, leaving him alone in this world of sound yet unknown to him.” (Turina)
Recommendation
In 1951, after numerous solo compositions, Cage tried his hand at a piano concerto, naturally for the prepared variety. And in marked contrast to the concerto: Sixty-Eight
“Drawing close to the point of complete fusion into a ‘single musical instrument’”: Uroš Rojko’s chamber music port-rays very special conflicting relationships. 
 
Home
Shop
Artists
Scheduler
Journal
col legno
Distribution