I recently learned Dr. Rózsa's Viola concerto. Not so thickly written as this, nevertheless difficult and wonderful. IMO it stands out among the three top Viola concertos ever. A brilliant tour de force by Mr. Pennario, who consistently dared to play offbeat works HE LIKED, usually from memory. We fall short of fearless pianists like him today. He was the first after the composer to record all four Rachmaninov concertos and the Paganini Variations. His debut at 12 with the Dallas SO was (as a last-minute replacement) in Grieg's concerto, which he learned in one week and was proud of mastering after school without missing any time from class.
As most people know, he was a film composer primarily. And when he wasn't scoring films, he was writing instrumental music like this, for various people he knew. This Piano Concerto was written in the mid-1960s for none other than the man performing it in this video. What I find really cool about this piece is that amidst all the staticky passagework is some really nice music, especially in the 2nd movement. It's not a sloppily sentimental 2nd movement, but it's sort of modern-romantic fusion.
Wow! Why isn't this played more often? I'm sure there are lots of pianists who'd love a crack at this concerto. Getting the orchestras to commit is the challenge.
There is something about Miklos Rosza's orchestration that is unique to my ears. I think it is the brassy backround chords in the low trombones and horns to a thick doubled string forefront. His symphonic work usually sounds like variations to the Ben Hur sound. This was an exciting concerto.
Premiered by Mr Pennario in 1967 in Los Angeles under the baton of Maestro Mehta Sometimes Gershwin's Concerto in F, sometimes Bartok's Second Concerto
omg. I had no idea that Pennario is no longer around. I would never have tried to raise his heart beat, too late for that. But i will watch those fingers in total joy while turning that music LOW low low. lol
It is really too bad that this piece is probably never to be heard regularly in concert performances, and has not been recorded by more than Pennario and like one or two other people. Actually, the recording of Evelyn Chen is fantastic. The problem is getting the orchestras to commit to learning it and spend enough rehearsal time putting it together. This piece has tons of meter changes and potential ensemble issues - again, it requires commitment. I play the Rozsa Violin Concerto. It's very similar to this as far as character and musical form. It's also quite formidable in the same way - harmonically very dark. The last movement of the Piano Concerto is just wicked, marked only "Vigoroso." The Violin Concerto's finale is a hoedown, and not a happy one at that, but some nice fireworks at the end and like the Piano Concerto, ends quite abruptly. It was written for Heifetz, who was good friends with Pennario despite a large difference in their ages.
its a wonderful hall---and I oughta know--from Milwaukee. The late great, good looking Mr. Schemerhorn married at one time to the very glamourous Soprano Carol Neblett.
My question is why the audience was not immediately on their feet giving him a standing ovation??!! If I'd been there, I wouldn't have been part of that tepid applause. SMH. His interview at the end...to learn the Grieg in six days is just crazy. I don't doubt he did it but what 12 year old learns something like that in under a week? Under a month, let's say?! Granted, the Grieg is not the hardest concerto out there but it's not exactly what I'd call "easy". But compared to the Rozsa, yeah. The Rozsa piano part sounds like it's even harder than the Rach 3rd. And all that horrid dissonance. The good thing about it though is that it has a distinct musical line, versus most other 20th century crap, atonal garbage that only appeals to like 4 people out of an audience of 1,000 or more.
Well... I guess the tyranny of the serialists and their journalistic fellow-travelers helped suppress this and many other pieces. It would not surprise me at all. They sneered at all such music, like babbitty little snobs and dark sphinxes, but the symphony audiences never wanted to hear their crap, but instead pieces such as this and so many others that were kicked to the curb in the name of progress.
This is gut wrenching UGLY, disgusting, violent inducing NOISE of horror, should be very useful in Horror Movies. bUT WHAT WONDERFUL LONG FINGERS, DRIVING ME CRAZY, SUCH HUGE HANDS.
Gee, a "noise of horror"? There are plenty of attractive melodies in this work. Wow, I wonder what you make of Bartok's first two piano concertos, both of which are certainly more aggressive than Rozsa's piano concerto.
Well, he was a film composer... That horrible noise of a melody at 1:40 and 4mins, I heard that too... Not all music has to be 'beautiful'. Listen to Beethoven's Grosse Fugue or late Liszt piano works, people still struggle with them and they're well over 100 years old. Music should provoke a reaction - this piece's strongest characteristic is rhythm, and while not as melodically appealing as some of his other stuff, there is certainly melody there. But if you think this is violent I would suggest avoiding Schnittke, Shostakovich, Bartok, Prokofiev, Stravinsky...you know, all no names...
I wouldn't call it ugly - find it quite palatable and mixed with enough tonality to be audience friendly. Haven't listened to any Hovhaness before, thanks for the recommendation, Xenakis, Schnittke, Penderecki (not all works of course) - that's where we go for screeching, shocking dissonance.
Well, not quite for Schnittke. His Piano Quintet is a reasonably accessible work (love the slow "fade out" ending). As for Pendereceki, yes, he's been writing in a Wagneriam idiom for the past couple of decades, whereas Xenakis remained a difficult composer his entire life. But if anyone here is interested in checking out some 20th century piano concertos written in a much more accessible style, try the Brits: my three favorites are by Britten, Rubbra, and Tippett.
Powerhouse stuff! Surely one of the most impressive concertos of the 20th Century. A real show stopper.
A fiendishly difficult piece alternating between insanity and peaceful interludes. Awesome performance by Mr. Pennario.
Beautiful!
I recently learned Dr. Rózsa's Viola concerto. Not so thickly written as this, nevertheless difficult and wonderful. IMO it stands out among the three top Viola concertos ever.
A brilliant tour de force by Mr. Pennario, who consistently dared to play offbeat works HE LIKED, usually from memory. We fall short of fearless pianists like him today. He was the first after the composer to record all four Rachmaninov concertos and the Paganini Variations. His debut at 12 with the Dallas SO was (as a last-minute replacement) in Grieg's concerto, which he learned in one week and was proud of mastering after school without missing any time from class.
I was there -- and boy, was it cold! It was an exciting performance, though a little disorienting because Rozsa had made some cuts after the premiere.
As most people know, he was a film composer primarily. And when he wasn't scoring films, he was writing instrumental music like this, for various people he knew. This Piano Concerto was written in the mid-1960s for none other than the man performing it in this video. What I find really cool about this piece is that amidst all the staticky passagework is some really nice music, especially in the 2nd movement. It's not a sloppily sentimental 2nd movement, but it's sort of modern-romantic fusion.
this piece sounds better every time I hear it --thanks so much for posting this fantastic performance.
Unfortunately music by film composers is usually banned from the concert hall.
Wow! Why isn't this played more often? I'm sure there are lots of pianists who'd love a crack at this concerto. Getting the orchestras to commit is the challenge.
There is something about Miklos Rosza's orchestration that is unique to my ears. I think it is the brassy backround chords in the low trombones and horns to a thick doubled string forefront. His symphonic work usually sounds like variations to the Ben Hur sound. This was an exciting concerto.
His use of counterpoint has always been outstanding.
Beautiful!!
Une œuvre puissante dont on reconnait par moment, la couleur orchestrale du compositeur.
Erinnert mich teilweise an Billy Wilder's Film "The Private Life of Sherlock Holmes"! Großartiges Werk 🙏
Premiered by Mr Pennario in 1967 in Los Angeles under the baton of Maestro Mehta
Sometimes Gershwin's Concerto in F, sometimes Bartok's Second Concerto
Terrific !!!!!!
Great piece and would love to hear it live. Don't think I ever will. Who's going to learn it? Very difficult and Pennario's no longer around.
omg. I had no idea that Pennario is no longer around. I would never have
tried to raise his heart beat, too late for that. But i will watch those fingers
in total joy while turning that music LOW low low. lol
Ha - nice quote from Ben-Hur in the second movement of the 'Judea' theme.
In the first notes you recognize the handwriting of genius Miklos Rozsa
It is really too bad that this piece is probably never to be heard regularly in concert performances, and has not been recorded by more than Pennario and like one or two other people. Actually, the recording of Evelyn Chen is fantastic. The problem is getting the orchestras to commit to learning it and spend enough rehearsal time putting it together. This piece has tons of meter changes and potential ensemble issues - again, it requires commitment. I play the Rozsa Violin Concerto. It's very similar to this as far as character and musical form. It's also quite formidable in the same way - harmonically very dark. The last movement of the Piano Concerto is just wicked, marked only "Vigoroso." The Violin Concerto's finale is a hoedown, and not a happy one at that, but some nice fireworks at the end and like the Piano Concerto, ends quite abruptly. It was written for Heifetz, who was good friends with Pennario despite a large difference in their ages.
This is a wild, exciting piece of music. Enjoy... and hold on!
The movements are:
I. Allegro energico
II. Adagio
III. Vigoroso
I'm just trying to identify all of the musicians who still play in the orchestra, or who recently retired ... I see a few!
Stanley Drucker played for the New York Philharmonic for 61 years! He retired in 2009.
its a wonderful hall---and I oughta know--from Milwaukee. The late great, good looking Mr. Schemerhorn married at one time to the very glamourous Soprano Carol Neblett.
Sounds like his film music- very dramatic.
My question is why the audience was not immediately on their feet giving him a standing ovation??!! If I'd been there, I wouldn't have been part of that tepid applause. SMH. His interview at the end...to learn the Grieg in six days is just crazy. I don't doubt he did it but what 12 year old learns something like that in under a week? Under a month, let's say?! Granted, the Grieg is not the hardest concerto out there but it's not exactly what I'd call "easy". But compared to the Rozsa, yeah. The Rozsa piano part sounds like it's even harder than the Rach 3rd. And all that horrid dissonance. The good thing about it though is that it has a distinct musical line, versus most other 20th century crap, atonal garbage that only appeals to like 4 people out of an audience of 1,000 or more.
It's a real shame that this performance has some cuts to it, as do a few of Pennario's other performances of it. Still a great performance, though!
That piece is no joke. Does anyone know for whom it was written?
@leon footguy thank you!
I always get addinsell and rosza mixed up
Really ?
Where´s the Theremin....
You've got the wrong concerto my friend!
Some Stravinsky influence here it seems.
Well... I guess the tyranny of the serialists and their journalistic fellow-travelers helped suppress this and many other pieces. It would not surprise me at all. They sneered at all such music, like babbitty little snobs and dark sphinxes, but the symphony audiences never wanted to hear their crap, but instead pieces such as this and so many others that were kicked to the curb in the name of progress.
This is gut wrenching UGLY, disgusting, violent inducing NOISE of horror, should be very
useful in Horror Movies. bUT WHAT WONDERFUL LONG FINGERS, DRIVING ME CRAZY, SUCH HUGE HANDS.
Gee, a "noise of horror"? There are plenty of attractive melodies in this work. Wow, I wonder what you make of Bartok's first two piano concertos, both of which are certainly more aggressive than Rozsa's piano concerto.
Agreed!
Well, he was a film composer...
That horrible noise of a melody at 1:40 and 4mins, I heard that too...
Not all music has to be 'beautiful'. Listen to Beethoven's Grosse Fugue or late Liszt piano works, people still struggle with them and they're well over 100 years old. Music should provoke a reaction - this piece's strongest characteristic is rhythm, and while not as melodically appealing as some of his other stuff, there is certainly melody there.
But if you think this is violent I would suggest avoiding Schnittke, Shostakovich, Bartok, Prokofiev, Stravinsky...you know, all no names...
I wouldn't call it ugly - find it quite palatable and mixed with enough tonality to be audience friendly. Haven't listened to any Hovhaness before, thanks for the recommendation,
Xenakis, Schnittke, Penderecki (not all works of course) - that's where we go for screeching, shocking dissonance.
Well, not quite for Schnittke. His Piano Quintet is a reasonably accessible work (love the slow "fade out" ending). As for Pendereceki, yes, he's been writing in a Wagneriam idiom for the past couple of decades, whereas Xenakis remained a difficult composer his entire life.
But if anyone here is interested in checking out some 20th century piano concertos written in a much more accessible style, try the Brits: my three favorites are by Britten, Rubbra, and Tippett.