Concerto No. 2 for Piano, Winds, and Percussion

Concerto No. 2 for Piano, Winds, and Percussion 2017-03-14T18:30:05+00:00

Project Description

Solo Piano and Wind Ensemble
2002
27 min.

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Illinois State University Wind Ensemble, Stephen Steele, cond., Steven Hesla, Piano
On the album, David Maslanka: Concertos, Symphony No. 4 (2005)

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Preview Score

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Instrumentation

Solo Pno | Picc Fl-2 Ob BbCl-2 BCl Bsn ASx TSx BSx | Hn-2 Tpt-2 Tbn Tuba DB | Timp Perc-2

  • Solo Piano
  • Piccolo
  • Flute (2)
  • Oboe
  • Clarinet in B♭ (2)
  • Bass Clarinet in B♭
  • Bassoon
  • Alto Saxophone
  • Tenor Saxophone
  • Baritone Saxophone
  • Horn in F (2)
  • Trumpet in B♭ (2)
  • Trombone
  • Tuba
  • Double Bass
  • Timpani
  • Required Percussion (2 players)
    • Orchestra Bells
    • Xylophone
    • Snare Drum
    • Suspended Cymbal (1 sm., 1 lg.)
    • Vibraphone
    • Bass Drum
    • Ratchet
    • Tam-tam
    • Tom-toms (1 sm., 1 med.)
For wind ensembles and concertos, please use one player per part. For symphonies and concert pieces, more players may be used as desired. David’s full statement.

Movements

  1. “Dragonfly Delight” – In Memoriam H.B.
  2. “Enigma”
  3. “What’s Up?”
  4. “Howl” – A Vision of St. Francis
  5. Groucho’s Dance
    (Groucho Marx Does the Charleston on Adolf Hitler’s Grave.)

Commissioned by

Commissioned by Steven Hesla

Program Note

Concerto No. 2 for Piano, Winds, and Percussion was commissioned by, and is dedicated to, pianist Steven Hesla. Steve wanted a piece for a mature soloist, but with ensemble parts that could be managed by good high school players. It was his intention to have a piece that he could perform with various high school ensembles in the state of Montana.

This concerto falls in line with my other recent concertos. Like the saxophone and flute works, this new piece is in five movements. And as in the other concertos, each movement is song-like, and has a programmatic backdrop.

I. “Dragonfly Delight” – In Memoriam H.B.
“H.B.” is Harold Brodkey, a very good writer whom I did not know personally. Brodkey contracted AIDS, and as his illness progressed, he wrote an article entitled “Dying: An Update” which appeared in the February 1994 issue of the New Yorker magazine. I felt a powerful resonance with the following excerpt:

“But, you see, a traumatized child as I was once, long ago, and who recovers, as I did, has a wall between him and pain and despair, between himself and grief, between himself and beshitting himself. That is the measure for me – handling the whole weight of my life in relation to polite bowels. The rest is madness, rage, humiliation.”

The dragonfly is one I saw on a walk at Blue Mountain [near Missoula, Montana]. It was a brief encounter as this elegant and beautiful little creature hovered at grass level near my feet, and then was gone. I offer this delicate and moving music as a moment of delight and consolation for a troubled soul.

II. “Enigma”
“‘Enigma’” grows out of the Bach chorale melody Herr Gott, dich loben wir (Lord God, We Praise You). I have been studying the Bach chorales for many years, and have found them to be amazing touchstones for my own musical invention. The title Lord God, We Praise You set me to thinking about the nature of the universe, and beyond that, the nature of God – and I quickly came to the conclusion that I have barely a clue about either. The music begins quietly, but rises dramatically to a full-throated and awestruck shout of praise.

III. “What’s Up?”
“‘What’s Up?’” is also based on a chorale melody (Wie bist do, Seele, in mir so gar betrübt?). The German title translates roughly as “How are you my soul?” I have reduced this to “what’s up?”, as in “what’s up, Doc?” The music is brash, powerful, and edgy, until the piano concludes with a quiet statement of the chorale. Somethingis up!

IV. “Howl” – A Vision of St. Francis
I had a dream of St. Francis. Initially I was in the presence of a burning hot – thousands of degrees hot – metal object which was shaped something like a bowling pin. In my dream I was required to touch this object, but I had no idea of how to do it without getting seriously burned. It suddenly occurred to me that it was possible to do this. I reached out confidently and placed both hands on the metal object, which turned immediately into a small statue of St. Francis, made of reeds, and dressed as a Chinese peasant. (!) Out of this dream encounter has grown a strange but densely powerful music, related in its intensity and mystery to the praise music of the second movement. I say “howl” because it raises the hair on the back of my neck, and I can feel the howl rising in my throat.

V. Groucho’s Dance
Full title: “Groucho Marx Dances the Charleston on Adolf Hitler’s Grave.” Yes.

I have summarized the following story from Sarah Lawrence Magazine, Summer 2002. The article, entitled “What’s So Funny? The Nature of Comedy”, was written by Gurney Williams III, Elisa DeCarlo, and Celia Regan.

In 1958 on a tour of Europe, Groucho Marx visited the town in Germany where his mother had been born. He discovered that the Nazis had obliterated all Jewish graves and all record of inhabitants from his parents’ time. Marx hired a car and told the driver to take him to Adolf Hitler’s grave in Berlin. They made their way to the bunker where Hitler was said to have committed suicide, and where he was supposedly still buried. The rubble at the site was about twenty feet high. Wearing his characteristic beret, Marx climbed the debris. When he reached the top he stood still for a moment. Then he launched himself, unsmiling, into a frenetic Charleston. The dance on Hitler’s grave lasted a minute or two. Nobody applauded, nobody laughed.

When I read this story, I was electrified. To me, this single gesture is a defining moment in the twentieth century, and in what it means to be truly human. The single person, in the face of the tyrant and the war machine, can say, ”I am alive; I am free; you nave not killed me; you have not killed my people; I dance on your grave.” My music is a free-wheeling romp. It is fast and energetic, with a bit of a biting and sarcastic edge.

 Program note by David Maslanka

Further Reading

Music in Life

18 April 2002|0 Comments

Remarks given on 18 April 2002 at Indiana University School of Music before a performance of the Concerto for Alto Saxophone and Wind Ensemble. Other works on the concert included Montana Music: Chorale Variations and [...]

Further notes on Music Performance

10 April 1999|0 Comments

Two quotes from the scientist and philosopher Rene Dubos in his 1962 book The Torch of Life: “A fully developed human being cannot be thought of as an isolated creature. His or her [...]

Music and Healing

7 April 1999|0 Comments

Remarks given before a performance of Montana Music: Trio for Violin, Cello and Piano. Music is specifically healing. I know that I am alive today, and essentially well, because of it. Healing through music is [...]

Some things that are true: Reflections on being an artist at the end of the 20th century

20 November 1998|0 Comments

Society of Composers Incorporated Region VIII Conference, University of Montana at Missoula. Keynote address by David Maslanka – November 20, 1998 As soon as one speaks about “truth” there will be objections. Since we live [...]

The roots and purpose of music

15 November 1992|0 Comments

Remarks given at the University of Wisconsin-Whitewater, Nov.15.1992, before a performance of Symphony No.3. I want to give a few thoughts on the roots of music and its purpose in human life. Music comes supposedly [...]