Concerto for piano solo (homage to Alkan)

Composition


Inglis, B. 2015. Concerto for piano solo (homage to Alkan). Composers Edition.
Title of workConcerto for piano solo (homage to Alkan)
CreatorsInglis, B.
ContributorsInglis, B.
Description

This work was written as a homage to the 19th-century French composer, Charles-Valentin Alkan, the specific reference point being Alkan’s Concerto for Piano Solo Op.39 nos 8-10 (1857).
As an exemplar of a highly rarified genre, Alkan’s Concerto has no real precursors and only three successors in the public literature: Sorabji’s Concerto per suonare da me solo (1946), and Michael Finnissy’s Piano Concerto No 4 (1978-96) and No 6 (1980-81). The idea of evoking orchestral or other instrumental sounds at the keyboard is not new, but as a concept it has been articulated in the literature on music surprisingly infrequently, especially from the point of view of practical pianism. One source where detailed recommendations can be found is Alfred Brendel’s essay ‘Liszt’ (Musical Thoughts and Afterthoughts, London, 1976). I have been inspired by, and have drawn on, Brendel’s suggestions in my conception of the piece’s imaginary ‘orchestration’ (as manifested through performance directions in the score and specific articulations in performance), seeking to give the impression of both orchestral accompaniment and piano sound through one keyboard.
This being a work of homage, in a couple of places I have used direct quotations from Alkan’s oeuvre: the end of the first movement of his Symphony, Op.39 no 4 (b.1) and the trio of the Scherzo Diabolico Op.39 no 3 (b.5); other more subtle allusions occur elsewhere. In a sense, my concerto starts where Alkan’s symphonic movement (Op.39 no 4 in C minor) leaves off. While the four movements of the concerto proper use determinate notation, I have introduced an element of indeterminacy in the cadenza, which is to be prepared or improvised in response to graphic-score elements – referencing both the earlier Classical/Romantic tradition of improvised cadenzas, and post-1950 experimentalism .

Output mediaScore
Publisher or commissioning bodyComposers Edition
First publicly available date
Print10 Jun 2015
Publication process dates
Deposited23 Sep 2015
Output statusPublished
Additional information

ISMN: 9790570681679
Dedicated to Gabriel Keen.
First performance (original version): 3rd November 2013, St Mary’s Old Church Arts Centre, London N16
Second performance: 28th November 2013, Middlesex University, London NW4
Third performance (first of definitive score): 23rd November 2014, Sutton House, London E9
Published June 2015
Duration: 22-23'.
Available on Living Stones, Sargasso SCD28081: track 6 (Concerto) Performed by Gabriel Keen.

Web address (URL)https://composersedition.com/work/brian-inglis-concerto-for-piano-solo-homage-to-alkan/
LanguageEnglish
Permalink -

https://repository.mdx.ac.uk/item/85w5w

  • 66
    total views
  • 0
    total downloads
  • 1
    views this month
  • 0
    downloads this month

Export as

Related outputs

Semiotics as a mode of popular music analysis and interpretation
Inglis, B. 2025. Semiotics as a mode of popular music analysis and interpretation. in: Dines, M., Rambarran, S. and Smith, G.D. (ed.) The Intellect Handbook of Popular Music Methodologies Bristol Intellect.
Etudes de concert – the journey continues
Inglis, B. 2024. Etudes de concert – the journey continues. Jeremy & Ruth Burbidge.
Reappraising Peter Warlock's An Old Song
Inglis, B. 2024. Reappraising Peter Warlock's An Old Song. Peter Warlock Society Newsletter. (114 Spring).
Charles-Valentin Alkan
Inglis, B. 2022. Charles-Valentin Alkan. London, UK BBC.
Gabriel Prokofiev: Viola Concerto
Inglis, B. 2022. Gabriel Prokofiev: Viola Concerto. Cardiff BBC.
Hermetic Study
Inglis, B. 2021. Hermetic Study. Composers Edition.
Paix à la paix: Hymne, pour voix seule (Hymn for solo voice)
Alkan, C. and Inglis, B. 2023. Paix à la paix: Hymne, pour voix seule (Hymn for solo voice). Chipping Norton Composers Edition.
Engaging with religious history and theological concepts through music composition: Ave generosa and The Song of Margery Kempe
Inglis, B. 2023. Engaging with religious history and theological concepts through music composition: Ave generosa and The Song of Margery Kempe. Religions. 14 (5). https://doi.org/10.3390/rel14050640
Verbum bonum et suave
Inglis, B. 2015. Verbum bonum et suave. Composers Edition.
The Break-Up
Inglis, B. 2020. The Break-Up. Composers Edition.
Tintinnalogia
Inglis, B. and Scobie, C. 2015. Tintinnalogia. Composers Edition.
4 Esquisses
Inglis, B. 2020. 4 Esquisses. The Alkan Society/Composers Edition.
Etudes de concert 1
Inglis, B. 2023. Etudes de concert 1. Composers Edition.
Air from Etudes de concert
Inglis, B. 2020. Air from Etudes de concert. The Recorder Magazine. 40 (2), pp. 62-65.
Suite ecossaise
Inglis, B. 2022. Suite ecossaise. Composers Edition.
Peter Warlock: An Old Song [Preface]
Inglis, B. 2023. Peter Warlock: An Old Song [Preface]. Muenchen, Germany mph Musikproduktion Hoeflich.
The cadenza of Malcolm Arnold's Second Clarinet Concerto
Inglis, B., Cigleris, P. and Harris, P. 2022. The cadenza of Malcolm Arnold's Second Clarinet Concerto. Maestro.
As jazzy and way out as you please
Inglis, B. 2021. As jazzy and way out as you please. Clarinet & Saxophone. 47 (1), p. 56.
Rehearing and rapprochement, or moustaches on the Mona Lisa?
Inglis, B. 2021. Rehearing and rapprochement, or moustaches on the Mona Lisa? The Recorder Magazine. 41 (3), pp. 95-98.
Serendipity, Poetry and Play in Toy Piano composition and Four Pieces for Toy Piano
Inglis, B. 2020. Serendipity, Poetry and Play in Toy Piano composition and Four Pieces for Toy Piano. Revista Vórtex. 8 (2), pp. 1-29. https://doi.org/10.33871/23179937.2020.8.2.5
Alkan's Esquisses - past, present and future
Inglis, B. 2019. Alkan's Esquisses - past, present and future. Alkan Society Bulletin.
Four pieces for toy piano as a form of practice-as-research: serendipity, poetry and play
Inglis, B. 2019. Four pieces for toy piano as a form of practice-as-research: serendipity, poetry and play. Music as play festival: the toy piano takes the stage. Istituto Giosue Carducci, Como, Italy 06 - 07 Jul 2019
Microtonal procedures in 'Sailing to Byzantium'
Inglis, B. and Barnes, R. 2005. Microtonal procedures in 'Sailing to Byzantium'. UK Microfest 1. Riverhouse Arts Centre, Walton-on-Thames, Surrey, UK 14 - 15 Oct 2005
Towards an analytical framework for graphic scores, and a proposed typology
Inglis, B. 2015. Towards an analytical framework for graphic scores, and a proposed typology. Putting the Graphic in Music – Notation, Analaysis & Performance. Senate House Library, University of London 30 Nov 2015
Musical composition and mystical spirituality
Inglis, B. 2019. Musical composition and mystical spirituality. in: Boyce-Tillman, J., Roberts, S. and Erricker, J. (ed.) Enlivening Faith: Music, Spirituality and Christian Theology Oxford, Bern, Berlin, Bruxelles, Frankfurt am Mein, New York, Wien Peter Lang.
Four pieces for toy piano
Inglis, B. 2018. Four pieces for toy piano. Composers Edition.
Piano Trio: for violin, cello and piano
Inglis, B. 2017. Piano Trio: for violin, cello and piano. Composers Edition.
‘Dumped modernism’? The interplay of musical construction and spiritual affect in John Tavener and his To A Child Dancing In The Wind
Inglis, B. 2020. ‘Dumped modernism’? The interplay of musical construction and spiritual affect in John Tavener and his To A Child Dancing In The Wind. in: Boyce-Tillman, J. and Forbes, A. (ed.) Heart's ease: spirituality in the music of John Tavener Oxford, Bern, Berlin, Bruxelles, Frankfurt am Mein, New York, Wien Peter Lang.
Kaikhosru Sorabji's letters to Philip Heseltine (Peter Warlock)
Inglis, B. and Smith, B. 2019. Kaikhosru Sorabji's letters to Philip Heseltine (Peter Warlock). London and New York Routledge.
Classical music, copyright and collecting societies
Inglis, B. 2018. Classical music, copyright and collecting societies. in: Dromey, C. and Haferkorn, J. (ed.) The Classical Music Industry Abingdon, Oxon Routledge. pp. 7-31
Alkan, the 'orchestral' piano and Concerto for Piano Solo (Homage to Alkan)
Inglis, B. 2017. Alkan, the 'orchestral' piano and Concerto for Piano Solo (Homage to Alkan). Alkan Society Bulletin.
Living Stones
Inglis, B., Keen, G. and Scobie, C. 2017. Living Stones.
A Christmas alleluia: for SATB choir and organ
Inglis, B. 2015. A Christmas alleluia: for SATB choir and organ. Composers Edition.
The liminal zone of opera: (unaccompanied) operatic monodrama and The Song Of Margery Kempe
Inglis, B. 2016. The liminal zone of opera: (unaccompanied) operatic monodrama and The Song Of Margery Kempe. in: Campos, L. and Schopf, F. (ed.) Music On Stage: Volume 2 Cambridge Scholars.
Highbury Fields
Inglis, B. 2015. Highbury Fields. Composers Edition.
Wedding
Inglis, B. 2015. Wedding. Composers Edition.
Symphony no. 2
Inglis, B., Shiel, D. and Evans, F. 2009. Symphony no. 2.
Burmese pictures
Inglis, B. 2010. Burmese pictures. Composers Edition.
The song of Margery Kempe
Inglis, B. 2009. The song of Margery Kempe.
Fruits of Sorabji's Indian summer: ‘Il tessuto d'arabeschi’ and ‘Fantasiettina atematica’
Inglis, B. 2010. Fruits of Sorabji's Indian summer: ‘Il tessuto d'arabeschi’ and ‘Fantasiettina atematica’. Tempo. 64 (254), pp. 41-49. https://doi.org/10.1017/S0040298210000410