Piano Concerto in A Minor

Piano Concerto In A Minor

Piano Concerto (One movement concerto for solo piano, string orchestra and percussion)

Composer: Mehmet Fatih Turan

Piano Concerto

The Recitalist sits in a moon-lit glade and plays upon a holographic piano, each note aligned to the circumference. 

Tetrachromatic

Enjoy a main theme, from  piano concerto Grieg,1st mvt, 

Grieg,piano concerto,1st mvt,main theme,MIDI,shorts, piano

Hi all,
This is the 1st movement of my 2nd piano concerto.  I first wrote it about 2 years ago.  For me, at the time, it marked a new way of thinking about my music and how I wanted to write.  In the last couple of years I would like to think I've grown a bit as a composer and developed my ideas and I wanted to revisit this work, to give it the benefit of my new insights since it is still one of my favourite pieces to date.  Also I started to learn to play it too which also gave me a further insight into the performance of the piece.

The rewrite was heavily focused on the performance, above all, the piano part.  I wanted to make it the most nuanced, authentic performance I could manage and so I spent the last month polishing the whole work.

For me it has been a really worthwhile exercise, I hope that you will think so too and enjoy the piece as much as I loved writing it.

Piano Concerto No.2 in B minor 1st movement

This is the 2nd movement of my 2nd piano concerto.  It's a much more lyrical, pastoral movement as a complete contrast to the 1st and 3rd movements.  Hope you like it.

Piano Concerto No.2 In B Minor 2nd Movt.

Here is the 3rd movement of my 2nd Piano concerto.  The 1st movement is strong, hectic, a little turbulent.  The 2nd is a complete contrast, pastoral and soft.  This movement is a mix of the first 2.  It has strong ideas but also has a soft lyrical side the blends the ideas in the first 2 movements.  I hope you like it, let me know in the comments and thank you so much for listening.

Piano Concerto No.2 in B minor 3rd movement

A piano concerto with strings, 1st movement.

Watch video on YouTube:  https://youtu.be/DWNfJHBK_kg

Piano Concerto #3, 1st movement*

Wolfgang Amadeus Mozart   
Piano Concerto KV413

Recorded @ Ayala Museum, Manila
Manila Symphony Junior Orchestra
ALESSIO BENVENUTI, piano and conductor

Wolfgang Amadeus Mozart - Piano Concerto KV413

Gordon Michael Composer

Piano Concerto Ambrielle Excerpt

Please, use headphones or good loudspeakers.

The purple fuchsia bled upon the ground. (2023–24)
Commission: Westdeutschen Rundfunk & Wien Modern

Live Recording: Pierre-Laurent Aimard & WDR Orchestra (cond. Elena Schwarz), 12 May 2024, Cologne

Photo: WDR/Holger Talinski

The purple fuchsia bled upon the ground. (2023–24), for piano and orchestra

Red Cliff is a concerto for piano and Western symphony orchestra, structured seamlessly within a single movement divided into four sections. Its thematic genesis draws inspiration from Luo Guanzhong’s esteemed 15th-century historical novel The Romance of the Three Kingdoms, a foundational work within the canon of Chinese literature. Situating itself amidst the tumultuous backdrop of the Three Kingdoms period, a pivotal epoch marking the decline of the Han dynasty in the 3rd century CE, the concerto encapsulates the enduring resonance of Chinese cultural heritage spanning millennia. Narratively, the composition encapsulates the climactic Battle of Red Cliff. In this pivotal event, three potent warlords—Cao Cao, Liu Bei, and Sun Quan—contend for dominion over the empire, ultimately catalyzing the emergence of the titular Three Kingdoms.
Comprising four contiguous sections, the concerto unfolds a multifaceted musical narrative:
1.	"Paying 3 Visits to A Recluse’s Cottage" (mm. 1- 56): Embarking with an adagio passage reminiscent of the opening strains of the renowned pipa composition "Waves Dredging Sand" by the blind folk musician Ah Bing (1893-1950), this section evokes the pivotal moment when Liu Bei secures the allegiance of the strategic genius Zhuge Liang after three personal entreaties.
2.	"Heated Debate" (mm. 57-174): Transitioning into an Allegro tempo, the composer deftly employs motifs from "Waves Dredging Sand" as thematic material, orchestrating six dynamic variations that vividly portray Zhuge Liang's persuasive arguments to rally Sun Quan and his military advisors in support of the alliance against Cao Cao.
3.	"Sorrowful Parting" (mm. 175-261): In a poignant departure, the composition channels the emotive essence of a renowned traditional Chinese opera aria, "Sorrowful Parting," attributed to Zhou Yu, as he bids farewell to Huang Gai. This lyrical interlude encapsulates the pathos of impending sacrifice amidst strategic machinations.
4.	“Battle of Red Cliff" (mm. 262-407): Culminating in a virtuosic display, the final segment encapsulates Huang Gai's audacious stratagem, depicting the daring incendiary assault on Cao Cao's fleet. As Huang Gai's "defecting" squadron unleashes infernal chaos, the flames engulf Cao Cao's armada, precipitating a decisive victory for the allied forces.
On October 9, 2016, at the esteemed Kimmel Center in Philadelphia, the world premiere featured virtuoso Ching-Yun Hu as soloist, accompanied by the Chamber Orchestra of Philadelphia under the baton of Dirk Brossé. Subsequently, the composer undertook a re-orchestration of the concerto for a traditional Chinese orchestra, culminating in the world premiere of the revised version on October 6, 2018, at the National Concert Hall in Taipei. Ching-Yun Hu reprised the role of soloist, accompanied by the National Chinese Orchestra Taiwan under the direction of the composer, Yiu-Kwong Chung.  The entire composition lasts 14 minutes. This track is the live recording of the world premiere on October 9th, 2016. Ching-Yun Hu and the Chamber Orchestra of Philadelphia, Kimmel Center, Philadelphia. Conductor: Dirk Brossé.
The music is now distributed by Universal Edition. Please visit the UE website to purchase the music.
https://www.universaledition.com/Werke/RED-CLIFF/P0279516

RED CLIFF for Piano and Orchestra (Section 1 "Visits To A Recluse's Cottage")

Red Cliff is a concerto for piano and Western symphony orchestra, structured seamlessly within a single movement divided into four sections. Its thematic genesis draws inspiration from Luo Guanzhong’s esteemed 15th-century historical novel The Romance of the Three Kingdoms, a foundational work within the canon of Chinese literature. Situating itself amidst the tumultuous backdrop of the Three Kingdoms period, a pivotal epoch marking the decline of the Han dynasty in the 3rd century CE, the concerto encapsulates the enduring resonance of Chinese cultural heritage spanning millennia. Narratively, the composition encapsulates the climactic Battle of Red Cliff. In this pivotal event, three potent warlords—Cao Cao, Liu Bei, and Sun Quan—contend for dominion over the empire, ultimately catalyzing the emergence of the titular Three Kingdoms.
Comprising four contiguous sections, the concerto unfolds a multifaceted musical narrative:
1.	"Paying 3 Visits to A Recluse’s Cottage" (mm. 1- 56): Embarking with an adagio passage reminiscent of the opening strains of the renowned pipa composition "Waves Dredging Sand" by the blind folk musician Ah Bing (1893-1950), this section evokes the pivotal moment when Liu Bei secures the allegiance of the strategic genius Zhuge Liang after three personal entreaties.
2.	"Heated Debate" (mm. 57-174): Transitioning into an Allegro tempo, the composer deftly employs motifs from "Waves Dredging Sand" as thematic material, orchestrating six dynamic variations that vividly portray Zhuge Liang's persuasive arguments to rally Sun Quan and his military advisors in support of the alliance against Cao Cao.
3.	"Sorrowful Parting" (mm. 175-261): In a poignant departure, the composition channels the emotive essence of a renowned traditional Chinese opera aria, "Sorrowful Parting," attributed to Zhou Yu, as he bids farewell to Huang Gai. This lyrical interlude encapsulates the pathos of impending sacrifice amidst strategic machinations.
4.	“Battle of Red Cliff" (mm. 262-407): Culminating in a virtuosic display, the final segment encapsulates Huang Gai's audacious stratagem, depicting the daring incendiary assault on Cao Cao's fleet. As Huang Gai's "defecting" squadron unleashes infernal chaos, the flames engulf Cao Cao's armada, precipitating a decisive victory for the allied forces.
On October 9, 2016, at the esteemed Kimmel Center in Philadelphia, the world premiere featured virtuoso Ching-Yun Hu as soloist, accompanied by the Chamber Orchestra of Philadelphia under the baton of Dirk Brossé. Subsequently, the composer undertook a re-orchestration of the concerto for a traditional Chinese orchestra, culminating in the world premiere of the revised version on October 6, 2018, at the National Concert Hall in Taipei. Ching-Yun Hu reprised the role of soloist, accompanied by the National Chinese Orchestra Taiwan under the direction of the composer, Yiu-Kwong Chung.
The entire composition lasts 14 minutes. This track is the live recording of the world premiere on October 9th, 2016. Ching-Yun Hu and the Chamber Orchestra of Philadelphia, Kimmel Center, Philadelphia. Conductor: Dirk Brossé.
The music is now distributed by Universal Edition. Please visit the UE website to purchase the music.
www.universaledition.com/Werke/RED-CLIFF/P0279516

RED CLIFF for Piano and Orchestra (Section 2  "Heated Debate")

Red Cliff is a concerto for piano and Western symphony orchestra, structured seamlessly within a single movement divided into four sections. Its thematic genesis draws inspiration from Luo Guanzhong’s esteemed 15th-century historical novel The Romance of the Three Kingdoms, a foundational work within the canon of Chinese literature. Situating itself amidst the tumultuous backdrop of the Three Kingdoms period, a pivotal epoch marking the decline of the Han dynasty in the 3rd century CE, the concerto encapsulates the enduring resonance of Chinese cultural heritage spanning millennia. Narratively, the composition encapsulates the climactic Battle of Red Cliff. In this pivotal event, three potent warlords—Cao Cao, Liu Bei, and Sun Quan—contend for dominion over the empire, ultimately catalyzing the emergence of the titular Three Kingdoms.
Comprising four contiguous sections, the concerto unfolds a multifaceted musical narrative:
1.	"Paying 3 Visits to A Recluse’s Cottage" (mm. 1- 56): Embarking with an adagio passage reminiscent of the opening strains of the renowned pipa composition "Waves Dredging Sand" by the blind folk musician Ah Bing (1893-1950), this section evokes the pivotal moment when Liu Bei secures the allegiance of the strategic genius Zhuge Liang after three personal entreaties.
2.	"Heated Debate" (mm. 57-174): Transitioning into an Allegro tempo, the composer deftly employs motifs from "Waves Dredging Sand" as thematic material, orchestrating six dynamic variations that vividly portray Zhuge Liang's persuasive arguments to rally Sun Quan and his military advisors in support of the alliance against Cao Cao.
3.	"Sorrowful Parting" (mm. 175-261): In a poignant departure, the composition channels the emotive essence of a renowned traditional Chinese opera aria, "Sorrowful Parting," attributed to Zhou Yu, as he bids farewell to Huang Gai. This lyrical interlude encapsulates the pathos of impending sacrifice amidst strategic machinations.
4.	“Battle of Red Cliff" (mm. 262-407): Culminating in a virtuosic display, the final segment encapsulates Huang Gai's audacious stratagem, depicting the daring incendiary assault on Cao Cao's fleet. As Huang Gai's "defecting" squadron unleashes infernal chaos, the flames engulf Cao Cao's armada, precipitating a decisive victory for the allied forces.
On October 9, 2016, at the esteemed Kimmel Center in Philadelphia, the world premiere featured virtuoso Ching-Yun Hu as soloist, accompanied by the Chamber Orchestra of Philadelphia under the baton of Dirk Brossé. Subsequently, the composer undertook a re-orchestration of the concerto for a traditional Chinese orchestra, culminating in the world premiere of the revised version on October 6, 2018, at the National Concert Hall in Taipei. Ching-Yun Hu reprised the role of soloist, accompanied by the National Chinese Orchestra Taiwan under the direction of the composer, Yiu-Kwong Chung.
The entire work lasts 14 minutes. This track is the live recording of the world premiere on October 9th, 2016. Ching-Yun Hu and the Chamber Orchestra of Philadelphia, Kimmel Center, Philadelphia. Conductor: Dirk Brossé.
The music is now distributed by Universal Edition. Please visit the UE website to purchase the music.
www.universaledition.com/Werke/RED-CLIFF/P0279516

RED CLIFF for Piano and Orchestra (Section 3 "Sorrowful Parting")

RED CLIFF for Piano and Orchestra (Section 4 "Battle of Red Cliff")

The lively first movement of my Second Piano Concerto, "Confluence," is a vivid variation of two famous traditional Chinese tunes: "Spring Everywhere" and "Old 6-beat."
Yiu Kwong Chung conducts the Taoyuan Chinese Orchestra, Piano Soloist: Fan-Chiang Yi

Piano Concerto No. 2 "Confluence" 1st Movement

The meditative, calm second movement of my Second Piano Concerto, "Confluence," is a reconstruction of a Hakka folk tune.
Yiu Kwong Chung conducts the Taoyuan Chinese Orchestra, Piano Soloist: Fan-Chiang Yi

Piano Concerto No. 2 "Confluence" 2nd Movement

The energetic third movement of my Second Piano Concerto, "Confluence," reconstructs an indigenous Atayal Tribe folk tune, "Song of Joy." Finally, the movement reaches its climax with the traditional Beiguan folk tune, "Long Live a Thousand Years."
Yiu Kwong Chung conducts the Taoyuan Chinese Orchestra, Piano Soloist: Fan-Chiang Yi

Piano Concerto No. 2 "Confluence" 3rd Movement

Having been a Universal Edition composer since April 2022, Yiu-Kwong Chung is one of Taiwan’s best-known and most sought-after composers. He was a Professor of Music at the National Taiwan University of Arts until 2022 and was the General Director of the Taipei Chinese Orchestra (TCO) from 2007 to 2015. During his tenure with TCO, he has written concerti for numerous top-class soloists, including percussionist Evelyn Glennie, trombonist Christian Lindberg, saxophonist Claude Delangle, cellist Mischa Maisky and Anssi Karttunen, flutists Pierre-Yves Artaud and Sharon Bezaly, in addition to renowned Kronos Quartet; all were world-premiered by the TCO. In June 2012, he conducted the orchestra’s European Tour (with soloist Evelyn Glennie). He staged performances in Bridgewater Hall in Manchester and Le Théâtre du Châtelet in Paris that brought immediate international fame to the Orchestra. From 2009 to 2015, he produced six CDs released worldwide by Swedish BIS Records.

a/k/a CHRIS CYPHER
[FUTURE_WITCH\TRICK]
author of 'LANTERNGLASS'
and
'an UNASSEMBLED VERSE'
verseweld.substack.com

Many of today's critics tell me that there's no place today for music that echoes times past, but I'm not writing it for them.  I write to entertain myself, and I write what speaks to me, and hope that a few others will enjoy listening along the way.  For me, writing music is a release, an outlet for my sentiments and emotions that don't find other avenues of escape.  
Music is and always was, entertainment for the masses, not just the classical elite, and somewhere among those masses, are people who just like a good tune, me for one.
A little about my background.

When I was 7, I started to take piano lessons from a little old lady who lived across the street. I continued going there until I was about 13 I think. I reached the dizzying heights of grade 3 royal school of music exams. I hated taking the exams and after the 3rd I stopped going in for them but continued the lessons.

I have no further qualifications or studies, what you see (hear) here is the result of a life long love of classical music and lots of hours self teaching.

My piano teacher once told me that I have an exceptional ear. I don't know if that's the case but I've tried to develop it over the years and make as much use of that ear as I can, (the other ear too) 😂
I hope you like what you hear and thank you very much for passing a few minutes listening to my music.

Kind regards
Mark

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