Concerto for piano and orchestra
degree of difficulty of the pianist's part: medium-high
degree of difficulty for the orchestra: medium
duration: 15’ approx.
year of composition: 1988
I performance: Milano, RAI, 30.3.1989 - pf. B. Canino, dir. G.
Edizioni Suvini Zerboni, Milano
(the parts can be hired out)
(22.214.171.124. - 126.96.36.199. - Tp. - Cel. - 2 Ar. - 4 Perc. [Rototoms,
Eolifono, Vibr., Mr., Glock., Tt., Sizzle cymbal, Gc., 5 Ps.,
Xyl., 4 Cen., 4 G., Trg., Tamb. piccolo, Flauto a coulisse,
Cp., Flex., Bacchette di vetro sospese] - A.)
the live recording by RAI is available
WORK REGISTERED AT SIAE (Italian Authors and Publishers Association)
The Flugelkonzert is articulated into five episodes, each of which has a duration of approximately three minutes, and has a formal physionomy that is pristine and differentiated from the others. The five episodes are linked without the solution of continuity, and use different instrumentations. The firs episode, Preludio, employs the soloist together with the wood-winds, the harp and percussion. The second, Interludio, prevalently uses the strings, hitherto unheard, accompanying the absence of the piano. The soloist returns in the third episode, Dialogo, which involves the entire orchestra in the climax of the piece. The fourth episode, Soliludio, follows, for solo piano, and the concerto is concluded by a Posludio, which entrusts the leave-taking of the piece to the piano and some sobre interventions on the part of the orchestra after a long and gradual increase in sonority and orchestral thickness. The recourse to differentiated instrumentation is a means which the author thought up in order to connotate the different formal sections better.
The piece uses the instrumentation of a normal symphonic orchestra, with triple wood-winds, three trumpets, four horns, two harps, celest and percussion. Only the latter presents an unusual configration, involving four performers, as well as the timpanist. The strings are predominantly treated according to their disposition: first and second violins, violas, 'cellos and double-basses.
The difficulty for the pianist is significant, but not overwhelming. The author considers Flugelkonzert to be one of his best works. The public's enthusiastic reception of it at the debut (with numerous and prolonged curtain-calls for the protagonists of the concert) confirms that the formula of the concerto for soloist and orchestra – thanks also to the presence of a well-loved artist like B. Canino – is able to promote a current of empathy between composition and listeners and between the soloist and the public.