| Work Title
|
Concerto for Piano and Orchestra in B-flat minor
|
| Alternative. Title
|
Concerto para Piano e Orquestra em Sib menor
|
| Composer
|
Lino, Gustavo Branzani
|
| Opus/Catalogue NumberOp./Cat. No.
|
Op.3
|
| I-Catalogue NumberI-Cat. No.
|
IGL 3
|
| Key
|
B-flat minor
|
| Movements/SectionsMov'ts/Sec's
|
3 movements:
- Marcia Moderato
- Adaggieto
- Allegro Tempestoso.
|
| Year/Date of CompositionY/D of Comp.
|
2020-22
|
| First Performance.
|
2023/01/01
|
| First Publication.
|
2020-22
|
| Average DurationAvg. Duration
|
25 minutes
|
| Composer Time PeriodComp. Period
|
Modern
|
| Piece Style
|
Modern
|
| Instrumentation
|
piano, orchestra
|
| InstrDetail
|
2 flutes, 2 oboes, 2 clarinets, 2 bassoons
4 horns, 2 trumpets, 2 trombones, tuba
timpani, cymbals, snare drum, bass drum, strings
|
| Extra Information
|
Credited as the author's greatest work, the Concerto for Piano and Orchestra in B♭minor was composed between 2020 and 2022, during the pandemic that spread in the beginning of the second decade of the 21st century. When questioned about the work, the author declared that he intended to portray the general feeling that had taken hold during that period, and that, precisely for this, he had chosen to compose a concerto on the instrument he was most proficient at, in a tonality that represented the “deepest solitude and despair” (paraphrasing here the Russian romantic composer Piotr I. Tchaikovsky, for whom the author had a strong admiration, who would have made a similar statement at the time of the premiere of his most famous piano concerto, also written in B-flat minor). The concert is marked by virtuosic passages, striking melodies and a rhythmic and harmonic complexity hitherto unusual in his previous works, evidencing a phase of greater maturity for the composer. As it converged with the period in which the author finished his studies at the Escola de Música do Estado de São Paulo – EMESP Tom Jobim, it is also believed that the concert was a tribute to the colleagues who accompanied him at this time, especially to the also composer and pianist Fernando D. Gomes, with whom the author kept in touch and continued to exchange experiences even after leaving the institution where they first met.
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