Thom Ritter George

CONCERTO FOR PIANO NO. 2, CN 300 (1979)

PROGRAM NOTES

Thom Ritter George composed his Concerto for Piano No. 2  in the first three months of 1979.  It is an unusual concerto in that it is structured in four movements instead of the customary three.  The score calls for extensive virtuoso playing for the soloist in partnership with the orchestra.  Although the concerto is a work of major proportions, the piece is quite economical in its use of material.  The entire composition is based on just a few musical ideas heard in many guises.

The opening movement, Allegro brilliant, is a driving exposition of all the major themes.  These are developed extensively in the contrapuntal interlude featuring the brass section and in the following section involving the intricate use of the timpani.  The second movement, Presto, is a scherzo, quiet and muted throughout.  Gossamer effects abound in both the solo piano and the orchestra, and the composer makes telling use of the glockenspiel in the final bars of the movement.

The noble Adagio is at the heart of the concerto.  Beginning with gentle solos for oboe and flute, the mood is extended with the entrance of the solo piano.  The middle section is a slow march, making much use of woodwind instruments.  This is brought to a climax by the entry of the brass in conjunction with fast figuration in the piano.  The mood of the beginning returns, but this time the principal ideas is scored for violins accompanied by soft arpeggios in the solo instrument.  Gradually, the orchestra dies away, leaving the piano alone playing the main melody.

The finale is a grand set of variations.  After a turbulent introduction, the theme is presented by the violins.  The piano enters immediately thereafter with the first variation; the strings play pizzicato.  This is followed by a woodwind variation, and then a brass variation.  The music proceeds to the slow variations in the middle.  Suddenly, the piano begins a forceful variation in C major and the orchestra is swept up in the momentum.  A few bars of the introductory material is repeated before the climactic variation in which the theme is superimposed on the music of the first movement!  This brings the concerto full cycle and consummates the form.  The music finishes with a brilliant code (Più mosso), extending the spirit of the final variation and bringing the score to a triumphant close.

The score was commissioned by and dedicated to Guy Tourney, a great music enthusiast and friend of the composer.

Thom Ritter George conducted the Quincy Symphony Orchestra in the first performance on April 18, 1979.  The piano soloist was Ursula Oppens.

The instrumentation for Concerto for Piano No. 2 is solo piano, piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, timpani, percussion, and strings.

(TRGcm:2008.09.10)