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Brian Inglis Brian Inglis Concerto for Piano Solo (Homage to Alkan) for solo piano 20131 ce-bi1cfsp1-dl BRIAN INGLIS Concerto for piano solo (Homage to Alkan) for solo piano 2014 Dedicated to Gabriel Keen First performance: 3rd November 2013, St Mary’s Old Church Arts Centre, London N16 First performance of definitive score: 23rd November 2014, Sutton House, London E9 Recorded on Sargasso Records (www.sargasso.co.uk) SCD 28081 Note I first encountered the music of Alkan as a teenager. Having for a while frequented the public instrumental sounds at the keyboard is nothing new of course – it goes back to Mozart at least Music & Drama library in my home town, Reading, in search of new scores – mainly of piano – but as a concept it has been addressed directly in the literature on music surprisingly music – I was dimly aware of some archaic-looking tomes of his music lurking on the top shelf infrequently (especially from the point of view of practical pianism). One source where between Albeniz and ‘Light Modern Piano Pieces’, to which I paid scant attention. Only when I detailed recommendations can be found – in the context of Liszt’s transcriptions of orchestral happened upon Norman Demuth’s book French Piano Music was my interest sufficiently and operatic works – is Alfred brendel’s essay ‘Liszt’.3 I have been inspired by, and have aroused to reach for those buff-coloured volumes, alerted by the following passage: ‘Amongst drawn on, brendel’s imaginative solutions in my performance directions for this score, Alkan’s most interesting works are… “12 Etudes dans les tons majeurs” and another set in specifically the following suggestions (which can be used as an interpretative and technical aid “Les tons mineurs”. In the set … in the minor, three of the grandest conceptions in the to supplement my notation): literature can be found – a “Symphony” in four movements, a “Concerto” for solo piano in three, and a graphic set of variations, Le Festin d’Esope. Alkan contrives to give an orchestral 1. brass; trumpet, trombone: ‘A stiffening of the physical apparatus is required to do justice effect in the “Symphony”; in the “Concerto” the writing is of two kinds, conveying the to the blaring, braying sound of the trumpet, the brilliance of which needs the aid of pedal. impression that an orchestra is playing with the soloist’.1 Dynamics: poco f to fff. Trombones should be handled like horns [see below], but without Already interested in ‘orchestral’ piano writing, I was electrified by the delectable but the sordino pedal…. brass chorales should be executed portato, with air between the outrageous will-o’-the-wisp idea of a concerto for piano solo, and immediately sought to chords.’4 unlock the secrets imprisoned within those forbidding hardback façades. brushing off the 2. Horn: ‘The noble, full, somewhat veiled, “romantic” sound of the horn demands a loose metaphorical layer of dust, my eyes fell upon the pages of Alkan’s Concerto for Piano Solo arm and a flexible wrist. Although its dynamics extend from pp to f, the sordino pedal (Op.39 nos 8-10). I was astonished, astounded, transfixed. In those copious pages of antique should always be used. In legato, every note is put down separately and connected with its engraving a whole undreamed-of world of possibility was revealed. Later this piece and others neighbours by pedal alone. The staccato is never pointed. In chords played by several by the same composer revealed to and evoked still more artistic riches for me – but that horns, the upper voice must recede slightly in favour of the lower ones.’5 moment was the decisive one, including for the ultimate genesis of this score. The experience 3. Strings: ‘Characteristic of the string sound is a wide, easily variable dynamic range, a of hearing the work for the first time (which in those pre-internet days necessitated an legato supported by pedal vibrations, a tender onset of the notes …. bass entries may be encounter with the nineteenth-century ambience of the National Sound Archive in Exhibition anticipated. Cellos and double basses need time in which to unfold their sound. Pizzicato Road, South Kensington to hear Ronald Smith’s 1970 recording) was also a seminal one. chords may be lightly broken; they are plucked away from the keys. Muted string passages As a genre, Alkan’s Concerto has no real precursors2 and only three successors in the of course require soft-pedalling.’6 published literature: Sorabji’s Concerto per suonare da me solo (1946), and Michael Finnissy’s 4. Flute: ‘The flute stays in piano; its dynamics are hardly apparent. Its timbre remains round, Piano Concerto No 4 (1978-96) and No 6 (1980-81). The idea of evoking orchestral or other mild, somewhat colourless and veiled (I use the sordino, as long as it does not produce a 1 French Piano Music – A Survey with Notes on its Performance, London, 1959, p.31. 2 Bach’s Italian Concerto is clearly intended to evoke a monophonic solo instrument; and Schumann’s Piano Sonata No 3 was subtitled 3 Published in Musical Thoughts and Afterthoughts, London, 1976. ‘Concerto without Orchestra’ by his publisher after the event, not conceived that way. Certain works by John White, Ronald Stevenson and 4 Op. cit., p. 96 Alistair Hinton are evidently essays in the solo piano concerto genre, without being so-titled (see Jonathan Powell, ‘Charles-Valentin Alkan 5 Ibid. and british piano music of the 20th century and beyond’, Alkan Society Bulletin no. 90 (January 2014), pp. 10-24. 6 Op. cit., p. 95 thin or sharp sound). Whenever possible, I play every note with the help of a separate arm movement. The staccato should not be too well defined. Low notes on the flute should sound pale.’7 5. bassoons: ‘The bassoon … remains usually without vibrato; it is rarely a cantabile instrument, and needs the sordino, but not the sustaining pedal. The touch is finger- staccato, the dynamic range mp to mf.’8 6. Harp: ‘Do not forget that the harp is a plucked instrument! The pianist should play harp notes with round, tensed fingers – sempre poco staccato – within the sustained pedal. In rapid, sharply ripped-off arpeggios, the finger-play is assisted by movements of the wrist. Harp figuration has a smooth outline; its dynamic curves are of geometrical precision. The rhythmic and dynamic spacing of the notes needs the utmost control …. The dynamics of the harp range from pp to mf.’9 This being a work of homage, in a couple of places I have used direct quotations from Alkan’s oeuvre: the end of the first movement of his Symphony, Op.39 no 4 (see my b.1) and the trio of the Scherzo Diabolico Op.39 no 3 (b.5); other more subtle allusions occur elsewhere. In a sense, my concerto starts where Alkan’s symphonic movement (minor key study no 4 in C minor) leaves off. I have followed Alkan in indicating the alternation of the piano soloist and the illusory orchestra; unlike him, I also indicate where a combination of the two is intended to be evoked. Also unlike Alkan – but perhaps as a way of extending his aesthetic in a contemporary way - I have introduced an element of indeterminacy in the cadenza, which is to be prepared or improvised in response to graphic-score elements (each page might last between 30” and 1’).10 Most of the work on this score was done in August and early September 2013, in London and while travelling in Israel and Egypt; the graphic score for the cadenza was worked on in late September/early October (with some slight re-touching in July/August 2014). Owing to the long genesis of the work however some of the ideas stretch back across more than two decades; in this regard the piece is a kind of compositional autobiography, taking in a long- term interest in the various ways – conventional and extended – of conveying musical material via the medium of the piano; from the intricate manipulation of decorative motifs to a recent concern with a more raw and visceral expression. Brian Inglis www.impulse-music.co.uk/brianinglis 7 Ibid. 8 Op. cit., p. 96 9 Ibid. 10 Having said this is unlike Alkan, the distinctive appearance of his printed editions was identified by Sorabji, who remarked on ‘the extraordinary original appearance of the music, as of an entirely novel and unfamiliar system of decorative design’ (‘Charles Morhange’, Around Music, London, 1932, p. 214). Raymond Lewenthal also noted this feature in his edited selection, The Piano Music Of Alkan (New York/London, 1964, p. VIII). Plan of work: (the movements follow without a break) page I Allegro – Andante parlando e cantabile – Allegro assai – Andante parlando – Largo cantabile – Recitative – Marche funèbre 1 II Quasi-Andante – Contrapunctus 1 – Contrapunctus 2 6 III Danza alla barbaresca 10 – CADENZA – 14 IV Toccata 21 NB the Toccata fourth movement may also be performed separately Approximate durations: I 7’ II 6’ III 3 ½’ CADENZA ca 3’ IV 3’ TOTAL 22-23’ Concerto for Piano Solo (homage to Alkan) I Brian Inglis Andante parlando e cantabile (2013) Allegro q = ca. 120 q = ca. 76 TUTTI quasi trombe*1 3 3 3 3 pp ffff p ff ppp f ff 3 3 fff 3 3 3 3 3 3 3 3 3 3 3 3 loco f Più mosso ( q = ca. 84 ) 3 3 10 3 3 3 SOLO + TUTTI 7:6 5:4 5:4 7:6 3 3 3 3 3 fff p mp mf p 3 3 3 3 3 3 3 3 3 3 3:2 loco marcato 17 3 3 3 mp 5:4 mf 3 5 5 5 5 5 5 5 5 mp © Copyright 2013-2015 Brian Andrew Inglis Allegro assai 27 e = ca.
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