Concerto No. 1 for Piano, Winds, and Percussion

Concerto No. 1 for Piano, Winds, and Percussion 2017-03-14T18:27:08+00:00

Project Description

Solo Piano and Wind Ensemble
20 min.

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Illinois State University Wind Ensemble, Stephen Steele, cond., Alexandra Mascolo-David, Piano
On the album David Maslanka Concertos, Symphony No. 4 (2005)

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Preview Score

(Not available)


Solo Pno | Fl-2(2»Picc) Ob-2(2»EH) EbCl BbCl-2 BCl CbCl Bsn-2 | Hn-4 Tpt-2 Tbn-2 Tuba DB | E.Org Perc-3

  • Solo Piano
  • Flute (2) (2 doubles Piccolo)
  • Oboe (2) (2 doubles English Horn)
  • Clarinet in E♭
  • Clarinet in B♭ (2)
  • Bass Clarinet in B♭
  • Contrabass Clarinet in B♭
  • Bassoon (2)
  • Horn in F (4)
  • Trumpet in B♭ (2)
  • Trombone (2)
  • Tuba
  • Double Bass
  • Electric Organ
  • Required Percussion (3 players)
    • Xylophone
    • Marimba
    • Vibraphone
    • Orchestra Bells
    • Snare Drum
    • Tom-toms (1 sm., 1 med., 1 lg.)
    • Bass Drum
    • Bongos (2)
    • Wood Blocks (1 sm., 1 med., 1 lg.)
    • Temple Blocks
    • Suspended Cymbal (1 sm., 1 lg.)
    • Crash Cymbal
    • Tam-tams (1 sm., 1 lg.)
    • Triangle
    • Ratchet
    • Anvil
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.


  1. Moderate, With Heavy Energy
  2. Slow – Dance Fantasy
  3. Fast, Aggressive

Commissioned by

This work was composed with the support of a National Endowment for the Arts fellowship-grant and is dedicated to the American pianist Joseph Dechario.

Program Note

A concerto in three movements written for piano and an ensemble of orchestral winds, brass, percussion, and electric organ (no saxophone or euphonium).

This Concerto written between 1974 and 1976 was my first composition for wind ensemble. It was prompted in part by my Duo for flute and piano (1972), which was written for flutist Leone Buyse and pianist Joseph Dechario. Although he never played the concerto, Dechario’s performance work on the extremely demanding Duo inspired the concerto’s piano part.

This first piano concerto is an explosion contained in a classical form, and showed the nascent tendency in my music for both an objective formal process and a blossoming fantasy. Elements of extreme post-tonal violence are side by side with a sweet tunefulness and a gentle irony.

Program note by David Maslanka

Notes for the Performers

Mr. Maslanka notes that “things go so much better if the piano is positioned in the ensemble, facing the conductor. Piano lid has to be completely off and piano must be miked properly to achieve a balance with the ensemble with a minimum of distortion of piano tone. I no longer specify what kind of mikes because technology changes so rapidly. I have to rely on the good sense of performers and engineers.”

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 [...]