Piano Concerto No. 4 (Villa-Lobos)

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Piano Concerto No. 4
Concerto by Heitor Villa-Lobos
Heitor Villa-Lobos (c. 1922).jpg
Heitor Villa-Lobos
CatalogueW505
Composed1952 (1952): Rio de Janeiro, Paris, New York
Dedication Bernardo Segall
Published1979 (1979): Paris (reduction for two pianos)
PublisherMax Eschig
Recorded1970 (1970) Gilberto Tinetti  [ pt ], piano; Orchestre national de France (ORTF), conducted by Jean Fournet. (issued 2013 on CD, Homenagem a Gilberto Tinetti II, LAMI 014).
Duration27 minutes
Movements4
Scoring
  • piano
  • orchestra
Premiere
Date9 January 1953 (1953-01-09):
Location Syria Mosque, Pittsburgh
ConductorHeitor Villa-Lobos
PerformersBernardo Segall, piano; Pittsburgh Symphony Orchestra

The Piano Concerto No. 4, W505, is a composition for piano and orchestra by the Brazilian composer Heitor Villa-Lobos, written in 1952. A performance lasts about 27 minutes.

Contents

History

Villa-Lobos composed his Fourth Piano Concerto in 1952, beginning in Rio de Janeiro, continuing work in Paris, where he finished the second movement, and then in New York where he completed the work. [1] It was commissioned for the pianist Bernardo Segall, to whom the score is dedicated. Segall gave the first performance in Pittsburgh on 9 January 1953 with the Pittsburgh Symphony Orchestra, conducted by the composer. [2]

Instrumentation

The work is scored for solo piano and an orchestra consisting of piccolo, 2 flutes, 2 oboes, cor anglais, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 2 trombones, tuba, timpani, percussion (tam-tam, cymbals, coco, bell, bass drum), and strings.

Analysis

Syria Mosque, Pittsburgh (venue of the concerto's premiere) Syria Mosque, Oakland Neighborhood, Pittsburgh, PA.jpg
Syria Mosque, Pittsburgh (venue of the concerto's premiere)

The concerto has four movements:

  1. Allegro non troppo
  2. Andante con moto
  3. Scherzo (Allegro vivace) – Cadenza
  4. Allegro moderato

The first movement is not in any traditional form, but instead consists of eight successive sections built around two themes, both of which are exposed in the first section. The first theme is predominantly contrapuntal in texture and features quartal harmonies, while the second theme is homophonic and uses tertian harmonies. [3]

The second movement, like the first, is a chain form, in this case made up of six sections employing a main theme and two secondary themes. Recurring structures built on the main theme cause it often to resemble a chaconne. [4]

The third movement is a scherzo but, instead of the conventional ABA form, has two central sections (in an ABCA´ pattern), deploying two main themes and six shorter melodic ideas interspersed with material recalled from the previous two movements. A fifth, concluding section is an extended cadenza summarizing the thematic material of the three movements presented up to this point. [5]

The finale, like the other movements, is in chain form, but consists of just three large sections. Its main theme, stated at the outset, recalls the second theme from the scherzo. This gives way to a new theme, and then to a third theme based on the first movement's principal theme. The second section expands on the main theme, while the third section dwells on the second and third themes. The movement is brought to a close with a return of the opening material from the first movement. [6]

Discography

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References

  1. ↑ Peppercorn 1994, p. 139.
  2. ↑ Villa-Lobos, sua obra 2009, p. 58.
  3. ↑ Della Tonia 2015, pp. 50–53.
  4. ↑ Della Tonia 2015, pp. 61–63.
  5. ↑ Della Tonia 2015, pp. 69–74.
  6. ↑ Della Tonia 2015, pp. 79–84.

Cited sources

Further reading

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