Cecile Chaminade - Konzertstück for piano and orchestra Op. 40 (audio + sheet music)

The Concertstück, completed in 1888, was first performed in a concert put on by the Cercle catholique in Antwerp on 18 April 1888, with Chaminade herself as the soloist. The following year, on 20 January 1889, she played the work in Paris at the Concerts Lamoureux where it was received with enthusiasm. The same year, the Concertstück was played at the Concerts Colonne by the pianist Louise Steiger, to whom Chaminade dedicated the work on the published score. For several years it appeared quite regularly on concert programmes in Paris and beyond, including a performance at St James’s Hall in London on 23 June 1892. On that occasion it was played in a version for two pianos, with Chaminade joined by the British pianist Amina Goodwin (whose teachers included Liszt and Clara Schumann). Two decades later, during an American tour in 1908, Chaminade played the Concertstück with the Philadelphia Orchestra conducted by Karl Pohlig, its music director at the time.
The Concertstück begins in stirring style, with the strings playing tremolo open fifths and a theme on the horns starting with a rising fourth: the kinship with Wagner’s Flying Dutchman is unmistakable, and throughout the work some influence of Wagner and Liszt is apparent, not least the Lisztian flourish with which the piano makes its entrance. Over the course of the single movement, lasting a quarter of an hour, Chaminade develops four main themes in a language that is unambiguously French, with echoes of Saint-Saëns and Bizet, and a liking for ‘exotic’ harmonies. The orchestration is brilliantly effective, and she may have taken advice on this from her brother-in-law, Moritz Moszkowski. The end result is a piece of considerable individuality, combining zestful energy and a rich seam of lyrical melody, affirming the enduring value of Chaminade’s larger works.
(Hyperion)
Please take note that the audio AND sheet music ARE NOT mine. Feel free to change the video quality to a minimum of 480p for the best watching experience.
Performers: James D. Johnson (piano), Royal Philharmonic Orchestra, Paul Freeman (conductor)
Original audio and sheet music: imslp.org/wiki/Konzertst%C3%BCck,_Op.40_(Chaminade,_C%C3%A9cile) (Enoch Frères et Costallat, 1894)

[@Smoph04]

I keep seeing chaminade’s name floating around. I think it’s a sign to start listening to her work

[@joshscores3360]

do it :)

[@Kris9kris]

Her recordings for the Gramophone and Typewriter company solidified my love for this composer a long time ago. I can only imagine how she would have played this, as she was no slouch on the piano, and that’s an understatement. Shame that she was relegated to relative obscurity not long after her death, this is another one of her compositions out of many that are worthy of being played regularly in concert halls, and an exceptionally well-written example of late 19th century French orientalism with memorable melodies, wonderful details all over the place and great orchestration.

[@kauegoncalvesdasilva5505]

♥️ Chaminade ♥️

[@user-nk8gk2tq4u]

Very eastern, gorgeous❤

[@DemirSezer]

this was uploaded almost an hour ago and has a dislike? why lmao why would u dislike this

[@aramkhachaturian8043]

Gives me Persian vibes

[@bomcabedal]

The use of percussion in the coda is very reminiscent of Rachmaninoff - or really the other way around, chronologically speaking.

[@LoCoZappers]

I've never looked at any of her work, does she have a fully completed concerto composition?

[@MrRicksStudio]

MaXavi36 No, just this, and the gorgeous Concertino for Flute. She did write a piano sonata and many lovely solo piano works.

[@TroyLan]

Persian Saint-Saens

[@fulviopolce9785]

Non seguo questo compositore,ma mi sembra un discreto lavoro.Un po' troppo esotico,con chiara influenza di Saint-Sens. Un bell'inserimento.

[@BenzemonstreENTs]

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