Arnold: Piano Concertos

 

If I considered Sir Malcolm Arnold's foray into concertante music lighter than that of his symphonies, these piano concertante works are the lightest yet. Melodically, these are probably the composer's strongest across his set of concertos.

The Concerto for Piano Duet is written for strings only. I mention this aspect, for the two pianos threaten to take over the entire work themselves, strings or no.

The opening of this work has a delightful rising fanfare motive which is only offset by a lyrically gloomy middle section. I really like Arnold's use of quartals in these works, especially in the arpeggiated pianos here, furiously articulated by Nettle and Markham. If I am reminded of the score to the The Thomas Crown Affair remake, forgive me.

While mysterious chords open the middle movement, it is the three-note falling motive which enraptures this listener, nearly given over to a variation form here. The theme is sorrowful, for sure, yet oddly compelling all the same, perhaps due to its cinematic flavor. A rhythmically complex figure begins the last movement, given over to a propulsive forward motion in the accompaniment. Once again, Arnold is given over to a jazzy, lighthearted atmosphere which wouldn't too out of sorts aside Gershwin. A minor-keyed waltz, with syncopated jazzy overtones, take up the central section, adding numerous breaks for spotlit col legno strings; an odd combination for sure.

But what a delight! I love when Malcolm Arnold is in light spirits, and this work is certainly one of them. 

Because of the full orchestra, the Concerto for Two Pianos (3 hands) is of bigger scope musically, although shorter in runtime. Indeed the epic chords which open the concerto are imposing, and cinematically so, employing much percussion to drive home the impact of the music. Again, Arnold seems to like to give the pianists many arpeggiated passages in addition to the loud crashing chords. The middle portion of the first movement contains a sweet, flute-laden tune, one of a populist note methinks, although the inclusion of chimes and piano chords never lets the listener pull away from the opening.

The second movement feels as though we have moved from the concert hall to a piano bar or to the scoring stage for a classic film, one which plays a melancholy piano ballad in a popular style. Once more, imposing chords impede their way into the central section, bringing back some of the angst from the opening movement.

The manic final movement wends it way from an opening sneaky syncopated motive, making its way into the speakeasy dance hall at some point. If the previous Concerto for Piano Duet was a delight, this one provides this listener with unabashed joy and fun!

If you don't know John Field, he was a sort-of pre-Chopin composer hailing from Ireland. The Nocturne, a musical genre Chopin pounced upon, is attributed to Field.

In the hands of Malcolm Arnold, his Fantasy on a Theme of John Field is probably the closest we get to a single-player piano concerto from the composer.

Certainly, Arnold treats the music seriously, applying his penchant for modern dissonance opposite gentle salon piano musings, mimicking Field's Classical Era time frame. Yet, there is plenty of wit in the Fantasy too, concluding the work in a swollen send off in the grandiose style of Rachmaninov.

In a choice similar to Benjamin Britten, Sir Malcolm holds off providing John Field's Nocturne no. 7 in C Major more or less straight until a few minutes into the composition. This draws the listener in by having us guess where the theme might lie amongst some of the composer's angry ministrations at the opening.

While Arnold utilizes a full orchestra, akin to the Concerto for Two Pianos, it is rare to hear the entire ensemble throughout the many varied sections of the 20-minute work. This creates little character pieces attached to certain section of the orchestra, including some colorful percussion. Notably, a Spanish-sounding portion complete with castanets enters unexpectedly, and as mentioned earlier, the über-Romantic style of Rachmaninov is set at the finale.

Works
Concerto for Piano Duet, op. 32 (20.02)
Concerto for Two Pianos, op. 104 (13.31)
Fantasy on a Theme of John Field, op. 116 (21.56)

Soloists
David Nettle & Richard Markham, piano duet
John Lill, piano (op. 116)

Performers
London Musici (op. 32)
Mark Stephenson, conductor

Royal Philharmonic Orchestra

Vernon Handley, conductor

Label: Conifer; Decca
Year: 1993-94; 2006
Total Timing: 55.35

Find more Arnold recordings HERE!