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| ORIGINAL WORKS: SOLO CONCERTS | |  |
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Johann Baptist Vanhal
(1739-1813)
Concert for Piano and Orchestra
C maj, WIIa C9
edited by John F. and Virginia F. Strauss
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This pocket score has a
yellow cover
with black print. |
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| size of the pocket score: | 22,4 x 16,6 cm |
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| all trade prices without tax! |
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| price of the pocket score: | No.22P/502 | EUR 10,90 |
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| From this work, we did'nt make the performing material! |
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| price of the full size score: | No.22D/502 | EUR 23,26 |
| (size: A4, 29,7 x 21cm, 46 pages, spiral binding) |
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| If you are interested in the complete performance material of this work, please contact us. |
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The Concert for Fortepiano and Orchestra in C maj with its transparent texture and form represents Viennese Classicism at its most elegant. The concise melodic material is modular with successive units in contrasting styles organized by the harmonic structure. The phrase shapes (typically two-measures, plus two-measures, plus a four-measure extension) also exemplify the classical concept of balance. Generally Vanhal uses a three-voice texture for the four-part string group. He makes the reduction from four to three by either placing the viola and basso parts in unison or the first and second violins in octaves. With the exception of the solo oboe in the third movement, the oboes and horns are used to thicken the texture for a full classical orchestra sonority.
The first movement Allegro moderato is in classical concerto-sonata form with a double exposition, a dramatic development section with new expressive melodic material for the solo pianoforte, unison orchestral interjections and modulating harmonic centres, and finally a return which adds obligato figuration for the solo pianoforte. The given cadenza is thematically-based and simply-conceived, but it provides a concise model for further virtuosic expansion.
The second movement Adagio ma non troppo is in the sub-dominant key. The form is classical binary without repeats. The first theme exemplifies Vanhal's best cantabile writing with a through-composed melody superimposed over an underlying four-bar structure. The second theme is in classical serenata style with a pizzicato string accompaniment. As in the first movement, a simple cadenza is provided.
The third movement is a Rondo all'Inglese likely named for the rondo theme which is in the style of a Hornpipe, with its simple (non-rounded) binary structure and drone tonic/dominant bass line. The rondo form (ABACADA') is followed strictly throughout, and the episodes explore harmonically related keys, dominant, tonic minor and sub-dominant in succession. Vanhal deliberately makes references to the previous two movements, a technique rarely used by his contemporaries. The head of the rondo theme, as well as its accompaniment, recall the second theme of the first movement. The bridge to the B episode repeats passage work from the first movement. The C episode is especially noteworthy for its beautiful solo oboe melody accompanied by the obligato pianoforte and pizzicato strings, reminiscent of the second movement. The final rondo theme is treated with a thicker orchestral texture and includes a coda incorporating the closing chordal passage from the first movement.
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Dr. Heinz Anderle is the scientific adviser of the music publisher Wolfgang Kiess. He is the promotor of the present series of works.
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| Piano Concert, C maj, Allegro moderato, score | |  |
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