Three Piano Concertos t’s surprising how many wonderful certain forms have emerged as with an embellished cadenza prominent American piano concertos there characteristic. Perhaps the only wholly in the early pages. Iare, and how woefully unknown and new idea of our time is that which has underperformed they are. And the three grown our of 12-tone music. Another “The allegro vivo finale offers a dancing concertos presented on this CD are common procedure today is that of 7/8 solo piano figure by way of main three of the best and most interesting, using older forms in new combinations. theme, which is counterpointed by a for differing reasons. Two of them, the My Concerto is an example of the latter. separate rhythm for muted brass. This Robert Ward and Lee Hoiby are loaded Critics have described the work as theme is alternated with two contrasting with stunningly beautiful melodies, real being ‘in the grand manner.’ Certainly it sections in sonata-rondo fashion. The tunes, and that real American sound. was my intention to follow in the tradition last pages of the concerto are marked The third, by Marc Blitzstein, is a little of those concerti which fully utilized the by steadily increasing momentum different but equally wonderful in its potential of the piano in the broad lyric leading to a fortissimo close.” own way. Thank goodness they were sense.” recorded and that we all have the chance And finally we have the oldest concerto to enjoy their numerous pleasures. Lee Hoiby’s Concerto for Piano and of the three – Marc Blitzstein’s Piano Orchestra was commissioned by G. Concerto, written in 1931 when he was We begin with the Robert Ward Schirmer in 1957. The first performance only twenty-five. But the piece was not Concerto for Piano and Orchestra. It featured John Atkins, the wonderful premiered until 1986, when the Brooklyn was commissioned by the Powder River soloist on this recording. The first issue Philharmonic finally brought the piece Foundation for pianist Margaret Mitchell. on CD was back in 1989, the third to the public. Prior to that it had been The premiere performance took place in album released on Bay Cities. At that heard only twice and both times in a June of 1968 with Ms. Mitchell as soloist. time, we were licensing a whole slew two-piano reduction. When composer It was later recorded with Mitchell of CRI recordings of American classical David Diamond, who had been a page- and William Strickland conducting music. Most of those recordings had turner for one of those performances, the Stuttgart Radio Orchestra. I was music that was new to me, so it was a requested the score to peruse and for pleased to have this be the very first whole musical education learning about possible performance, he received a CD we issued back in 1988 on our then- composers I simply had no knowledge nice note from Blitzstein that read, “All brand new label Bay Cities. I’d been a of – my world of American composers my thanks about the Piano Concerto, huge fan of Robert Ward’s The Crucible were the usual suspects – Copland, which I don’t think I want done now.” opera and while we couldn’t do that one Bernstein, Hanson, and Robert Ward – And so it remained unperformed while at that time, we were able to issue a I’d heard others and enjoyed the music, Blitzstein found success in musical wonderful CD of the concerto and two but I was still an American classical theatre and opera. But the concerto is a of Ward’s symphonies. music novice in many ways. So, hearing unique and original work, one filled with the Lee Hoiby concerto for the first time interesting ideas and unusual touches The first time I heard the concerto I was was a real ear-opener – such beautiful but one that is still extremely accessible bowled over by its gorgeous melodies. and haunting themes throughout, and attractive. Of the concerto, Blitzstein And in the almost thirty years since we beautifully orchestrated and sounding said, “It follows the 19th century model, released that CD I cannot count the like a distant cousin of Rachmaninov, except that it begins with an extended number of times I’ve listened to it. It but with a distinctly American quality. prelude for the solo instrument. The is, in fact, completely addicting. For a Here’s Hoiby’s description of his last movement is a double passacaglia concerto written in the latter part of the concerto: in which two themes are deployed 1960s, when there was a lot of noise alternately and simultaneously, affording coming from composers, the Ward “The piano begins with a quiet statement considerable opportunity for many types was refreshingly old-fashioned, but in of the principal theme, which is then of contrapuntal devices and treatment.” a good way. And I could not believe exchanged with the orchestra and led that this beautiful work was almost through several keys, without transition, So, here we have three piano concertos, never performed. To me, that’s criminal. directly to the second subject, in tempo three American piano concertos, But Ward had many, many admirers giusto. There is a closing section, and three completely addictive piano including Stephen Sondheim, who was wherein two new motives appear at concertos brimming with invention a fan. Add to that the fact that Ward was the same time. Development of all and beauty, in great and definitive also a genuinely nice and warm person this material follows, leading to a solo performances. and you understand why his music is a piano cadenza, and a brief summarizing reflection of who he was. recapitulation with coda. — Bruce Kimmel

About his concerto, Ward said, “During “The lento second movement is by turns each major period of music history, lyrical, contemplative, and rhapsodic,