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Nat
DRUM
Piano and Orchestra
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Trio à Cordes (32)
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Harpe, Violon et Violoncelle A… (28)
2 Clarinettes, 2 Violons, Orgu… (28)
Flûte Traversière Violon et … (28)
Flûte à Bec Alto et Basse Co… (28)
Orgue, 2 Hautbois, 2 Violons, … (28)
2 Clarinets (duet) (28)
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Basse En Bb Et Piano (Orgue) (25)
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Quartette Pour Flûtes à Bec … (24)
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Choral Unison (24)
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Saxophone Quartet: 4 saxophone… (24)
Flûte à Bec Alto ou Flûte T… (23)
Soprano voice, Orchestra (23)
2 Violons, Violoncelle Et Cont… (23)
Ensemble A Vent (23)
2 Violons, Basse Et Basse Cont… (23)
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Violon, Viole de Gambe (Alto) … (20)
Flûte Traversière Violoncell… (20)
2 Violons, Alto, Basses et Cla… (20)
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3 Recorders (trio) (20)
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Soprano voice (20)
Cello, String Bass (duet) (20)
Violon ou Flûte Traversière … (19)
Orchestre Et Orgue (19)
4 Guitars (Quartet) (19)
Parties Orchestrales (19)
Flûte Traversière Violon et … (19)
2 Violons, Alto et Basse Conti… (19)
Brass Quartet: 4 trombones (19)
Flûte à Bec Alto ou Flûte T… (18)
Tuba or Euphonium or Saxhorn (18)
Flûte Traversière ou Hautboi… (18)
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Solistes STBB, Choeur SATTBB, … (17)
Percussion Ensemble (17)
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Bass Clef Instruments (17)
Flute, Viola and harp (17)
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Livres (15)
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Alto Et Basse Continue (15)
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Chant et Guitare (15)
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Cornet and Piano (14)
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Chanson (14)
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Quintette de Cuivres (13)
Flute, Cello, Piano (trio) (13)
2 Hautbois (13)
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Ensemble Mixte (13)
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3 Guitars (trio) (12)
Flûte Traversière Violoncell… (12)
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Flûte à Bec, Guitare et Musi… (12)
2 Bassoons (duet) (12)
Piano Trio: Violin, Viola, Pia… (12)
Flûte A Bec, Guitare Et Musiq… (12)
Harpe et Violon (12)
Fanfare Band (12)
2 Trumpets, Keyboard (piano or… (12)
Voice and Orchestra (12)
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Solistes SATB, Choeur SATB, 2 … (11)
2 Violons et 2 Cornets (et Bas… (11)
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Quatuor de Cuivres et Orgue (11)
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Partie Séparée (11)
Baritone voice (11)
Flute, Oboe, Clarinet, Bassoon… (11)
Vibraphone (11)
Piano, Guitar (Chords) (11)
Choral SSATB (11)
Soprano Saxophone and Piano (11)
Choral SSAATTBB (11)
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2 Violas, Piano (10)
Solistes SATB, Choeur SATB, Ba… (10)
String Quintet: 2 violins, 2 v… (10)
Viola da Gamba (10)
Cordes Et Basse Continue (10)
Flûte Et Clavecin (10)
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Exemplaire Complet (10)
Trombone et Piano ou Orgue (10)
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Book (10)
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Flûte A Bec Alto (Ou Flûte T… (9)
1 Piano, 6 hands (9)
Viola da Gamba, Harpsichord (9)
Violon, Ensembles de Cordes et… (9)
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Dulcimer (9)
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Guitare ou Luth (9)
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Mandolin, Piano (duet) (9)
Clarinette, Violoncelle et Pia… (9)
Trio de Cordes (9)
Quintette Mixte (9)
High voice (9)
Cello Ensemble (9)
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Clarinet, Violin, Cello, Piano… (9)
Concert band, Choral (9)
Recorder Quartet (9)
Viola and orchestra (9)
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2 Flutes, Basso continuo (9)
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2 Hautbois, 2 Clarinettes, 2 C… (8)
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Solistes SATB, Choeur SATB, Tr… (8)
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Flute, Clarinet, Horn and Bass… (8)
2 Trompettes, Cordes Et Basse … (8)
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2 Flûtes à Bec Alto et Guita… (8)
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Hautbois, Violon et Continuo (8)
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Quatuor à vent (8)
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Solistes SATB, Choeur SATB, 4 … (8)
Flûte à Bec Alto, Flûte Tra… (8)
Solistes SATB, 2 Cors, 2 Violo… (8)
Flûte à Bec Alto ou Flûte T… (8)
Choeur De Jeunes (Mez/SMezA) A… (8)
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Quatuor avec Piano (8)
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2 Violons, 2 Altos, Violoncell… (8)
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Recorder, Guitar (duet) (8)
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Clarinet, Bassoon (duet) (8)
2 Violons, Violoncelle (Obliga… (8)
Mandoline Et Basse Continue (8)
Pennywhistle (8)
Quatuor à Cordes et Violoncel… (8)
Flûte à Bec Alto ou Flûte T… (8)
String trio (8)
2 Mandolines et Basse Continue… (8)
Flûte Traversière Ou Violon … (8)
Guitare, Flûte Traversière V… (8)
Guitare Flatpick et Plectre (8)
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Quintette à Cordes et Basse C… (7)
Ensemble De Contrebasse (7)
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Flute, Clarinet, Piano (trio) (6)
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Saxhorn en Sib (6)
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ENS::Ensemble (6)
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Choeur Mixte et Orchestre (6)
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Trompette et Orchestre à Cord… (5)
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Hautbois (Ou Violon) Et Orches… (5)
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Viole de Gambe (5)
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Orgue et Musique de Chambre (5)
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Flûte Traversière ou Violon … (5)
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Cello and Harpsichord (5)
Cornet (5)
Choeur et Orchestre (5)
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B Flat, E Flat and C Instrumen… (5)
Flute, Oboe, and Cello (5)
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Lap Steel Guitar (5)
Musette (Hurdy Gurdy, Flûte T… (5)
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Alto (Partie séparée) (5)
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DVD Show / Broadway (5)
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Asbjørn Schaathun: Nations - Concerto For Piano and Orchestra: Piano: Score
Piano and Orchestra
[Score]
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Intermediate/advanced
Wilhelm Hansen
Nations - Concerto For Piano And Orchestra was composed by Asbjørn Schaathun in...
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Nations - Concerto For Piano And Orchestra was composed by Asbjørn Schaathun in 2015-16. Premiered by Ingfrid Breie Nyhus and Oslo Philharmonic conducted by Christian Eggen on Mar 31 2016.
64.99 GBP - Sold by Musicroom UK
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Asbjørn Schaathun: Nations - Concerto For Piano and Orchestra: Piano: Part
Piano and Orchestra
[Sheet music]
-
Intermediate/advanced
Wilhelm Hansen
This is the solo Piano part for Nations - Concerto For Piano And Orchestra by As...
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This is the solo Piano part for Nations - Concerto For Piano And Orchestra by Asbjørn Schaathun. Score: WH32852
26.99 GBP - Sold by Musicroom UK
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Hans Abrahamsen: Left Alone: Piano: Score
Piano and Orchestra
[Sheet music]
-
Intermediate/advanced
Wilhelm Hansen
Left Alone for Piano (left hand) and Orchestra was composed by Hans Abrahamsen ...
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Left Alone for Piano (left hand) and Orchestra was composed by Hans Abrahamsen in 2014-15. Commissioned by Westdeutscher Rundfunk and co-commissioned by City of Birmingham Symphony Orchestra Danish National Symphony Orchestra and Rotterdam Philharmonic Orchestra. Premiered by the WDR Sinfonieorchester and Alexandre Tharaud (piano) concducted by Ilan Volkov on January 29 2016 Cologne. Programme Note: I was born with a right hand that is not fully functional and though it never prevented me from loving playing the piano as well as I could with this physical limitation it hasobviously given me an alternative focus on the whole piano literature and has given me a close relationship with the works written for the left hand by Ravel and others. This repertoire has been with me since my youth. My very first public performance of one of my own works was in autumn 1969. The piece was called October and I played the piano with my left hand and the horn my principal instrument (the only instrument that can be played with only the left hand). Part of the piece requires the performer to play natural harmonics of the horn directly into the open strings of the grand piano to create resonance. The pedal was kept down by an assistant lying on the floor. Through decades the idea of writing a larger work for piano left hand has been in my mind. This new work is not written for a pianist with only one hand but rather by a composer who can only play with the left hand. The title Left alone contains all kinds of references not only to the obvious fact that the left hand is playing alone. Left alone is divided into two large parts each consisting of three smaller movements – in effect six in total. The work was commissioned by Westdeutscher Rundfunk and co-commissioned by City of Birmingham Symphony Orchestra Danish National Symphony Orchestra and Rotterdam Philharmonic and written for Alexandre Tharaud. Hans
64.99 GBP - Sold by Musicroom UK
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Fantaisie (MANTOVANI BRUNO)
Français
Piano and Orchestra
[Sheet music]
Lemoine, Henry
Par MANTOVANI BRUNO. Cette pièce emprunte sa matière soliste à une oeuvre pou...
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Par MANTOVANI BRUNO. Cette pièce emprunte sa matière soliste à une oeuvre pour piano, Le Livre de Jeb, véritable portrait musical de son dédicataire Jean-Efflam Bavouzet. Ce pianiste protéiforme, aussi sensible à la musique de Claude Debussy qu'au jazz, est un artiste unique, par l'ampleur de son répertoire et par la générosité de ses interprétations. C'est justement la diversité des goûts de ce musicien qui est à l'origine de mon inspiration : ma pièce renvoie autant à une contemplation caractéristique d'un certain 'esprit français' (notamment en son début) qu'à des rythmiques plus américanisantes. L'orchestre fonctionne ici comme le prolongement des résonances naturelles du piano. Il interprète les silences de la pièce originelle, vient ajouter des commentaires, afin de complexifier une matière première qui vise à l'évidence. La forme est extrêmement libre, mais le retour de certaines idées vient structurer un parcours dense, où la logique traditionnelle du concerto (alternance entre soliste et orchestre) est remplacée par un jeu permanent de doublures. Commande de l'Orchestre National de Lille, cette Fantaisie composée en 2009 est dédiée à Julia, Laura, Andrea, et Jean-Efflam Bavouzet. Bruno Mantovani / contemporain / Date parution : 2010-01-04/ Répertoire / Piano et Orchestre
65.00 EUR - Sold by LMI-partitions
(Seller in french langage)
Pre-shipment lead time:
On order
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Rapsodia Argentina (LECUONA ERNESTO)
Piano and Orchestra
[Score]
Lauren Keiser Music Publishing
for Piano and Orchestra Full Score. Par LECUONA ERNESTO. Rapsodia Argentina is b...
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for Piano and Orchestra Full Score. Par LECUONA ERNESTO. Rapsodia Argentina is based on traditional older Argentinian tangos, the most famous being_x001A_Buenos Aires,_x001A_which is heard at the outset. The whole piece is a kind of huge rondo and is divided into several sections, most of which recur during the course of the composition. One of them is a milonga, a native peasant dance of Argentina (and Bolivia) that is a variation of the tango. Rapsodia Argentina is probably the least known of the three rapsodias for piano and orchestra by Lecuona. For sale is the solo piano part. It is not a 2-piano version or a piano reduction. The solo part matches the available orchestration as arranged and recorded by Thomas Tirino. / Date parution : 2023-06-01/ Répertoire / Piano et Orchestre
118.31 EUR - Sold by LMI-partitions
(Seller in french langage)
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Poul Ruders: Piano Concerto No.2: Piano: Score
Piano and Orchestra
[Score]
Wilhelm Hansen
Piano Concerto No. 2 for Piano and Orchestra (2009) by Poul Ruders.Commissioned ...
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Piano Concerto No. 2 for Piano and Orchestra (2009) by Poul Ruders.Commissioned by The Norwegian Radio Orchestra and Jerome Lowenthal. Solo Piano part: WH31129CProgramme Note In this day and age when faced with the challenge of writing a 'Piano Concerto' e.g. a piece for symphony orchestra and an all-dominating and virtuosic solo Piano part one has two options: either: DO or do NOT go for it wholesale exploiting and enjoying the conrnucopia of sonorous treasures offered by the combination of the orchestra and the 'Grand Piano'. I have opted to go for it. When writing forone of our great young international Piano stars it would be absurd and a waste to do anything less and only 'nibble at the goodies'.However the piece is not a big clunky 'machine'. Rather it is a transparently orchestrated neo-classic (for the lack of a better work) composition in three movements lastign approximately 25 minutes.The piece begins with a moderately paced opening in which the Piano gradually gathers momentum and strength beginning with the most gentle of motifs. In this movement the soloist and orchestra fo not always agree and the vigilant listener will observe the disparity between the two. Following a swift up-beat coda the movement stops almost in mid-breath on one of the gentle Piano chords taken from the very opening.The extreme simplicity of the second movement 'Semplice' (the opening Piano solo bears the marking: 'slightly hesitant - like a child practicing') is after having been joined by the Vibraphone Harp and solo Violin suddenly violated with unprecedented brutality by the rest of the orchestra which virtually 'lies in wait - panting to pounce'. But eventually calm and order is restored.The finale is a crazy rondo of sorts. The marking 'Avanti Risoluto' (Forward with Resolve) is a bit of an understatement. It is a full throttle no hold barred ride -
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James MacMillan: Piano Concerto No.3 - 'The Mysteries of Light': Piano: Study
Piano and Orchestra
[Sheet music]
Boosey and Hawkes
The Mysteries of Light-Sub-titled 'The Mysteries of Light? the composer states ...
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The Mysteries of Light-Sub-titled 'The Mysteries of Light? the composer states that this work attempts to revive the ancient practice of writing music based on the structure of the Rosary. The most famous example of this is the collection of the Rosary (or Mystery) Sonatas for violin by Heinrich Biber written in the late 17th century. MacMillan?s concerto is based on a set of five meditations introduced by John Paul II in 2002 the Luminous Mysteries. In spite of this rather than being devotional the work proceeds in quasi-dramatic fashion not too distant in concept from a tone poem. Commissioned by Osmo Vänskä and the Minnesota Orchestra on the occasion of the Orchestra?s Centennial and firstperformed with soloist Jean-Yves Thibaudet in April 2011. Performance materials available on hire.
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Michael Nyman: The Piano Concerto In Full Score: Piano: Score
Piano and Orchestra
[Sheet music]
Chester
Concerto for piano and small orchestra based entirely on material selected fro...
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Concerto for piano and small orchestra based entirely on material selected from the soundtrack for the film The Piano. Commissioned by the Festival de Lille it was composed in spring 1993 and first performed by Kathryn Stottwith the Orchestre National de Lille under Jean-Claude Casadesus on 26th September 1993.
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Wolfgang Amadeus Mozart: Piano Concerto No. 20 in D minor K. 466: Piano:
Piano and Orchestra
Barenreiter
for Piano and Orchestra-Mozart perfected the form of the modern piano concerto ...
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for Piano and Orchestra-Mozart perfected the form of the modern piano concerto which from about 1750 begins to show its affinity with sonata form in his 21 concertos for solo piano and orchestra. The D minor piano concerto K.466 is one of the few concertos which remained in concert repertoire in the years following Mozart’s death. After the resuscitation of the other concertos it remained the most popular of all Mozart’s works in this genre and there can scarcely be a pianist who has not studied it or played it in a concert.Urtext of the New Mozart EditionFull score performance material (BA4873) two-piano reduction (BA4873-90) and study score format 22.5 x 16.5cm (TP147)available for sale
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Concerto For Pianoforte And Orchestra #5 E-Flat Major Op. 73
Piano and Orchestra
Barenreiter
Beethoven's fifth and final piano concerto is at the same time the culmination o...
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Beethoven's fifth and final piano concerto is at the same time the culmination of his efforts in this genre and a reflection of all his artistic skill and expertise. The surviving manuscripts provide a clear insight into his working methods and his intentions regarding the work's performance.The editor, Jonathan Del Mar, has closely scrutinised the autograph solo piano part and reproduced Beethoven's sophisticated performance instructions for the first time in a modern edition. Among other things, this has special repercussions for the left-hand figured bass line of the piano part during the tutti passages.As with the Piano Concertos Nos. 1 to 4, the piano reduction appears with a separate solo part containing all the information needed by the soloist to conduct the ensemble from the piano.- Many wholly new corrections in the solo and orchestral parts- Piano reduction with a separate solo part, as was customary in Beethoven's day- With Beethoven's continuo figures for the first time in a modern edition / Score
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Frédéric Chopin: Concerto In E Minor Op. 11: Piano: Score
Piano and Orchestra
PWM (Polskie Wydawnictwo Muzyczne)
Historical Version-Characterised by an extensive in terms of Chopin's concert p...
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Historical Version-Characterised by an extensive in terms of Chopin's concert pieces orchestral part. The melody here is less ornamented and more fluid the sketch of the cantilena very noble and clear the highly virtuosic element is exposed but not to the extent of overwhelming the logic of the design. Critical source-edition edited by Jan Ekier and Pawe Kami ski based on manuscripts copies approved by Chopin himself and first editions. Its purpose is to present the works of Chopin in authentic form. The present score is composed of parts from the first edition. The concert version of the score recreated by taking into consideration also other sources which present Chopin`s intention constitutes volume 33 B VIIIa. The Concerto in an authentic arrangement for one piano makes up volume 13 A XIIIa. The version with the second piano containing the reduction of the orchestra part forms volume 30 B VIa. The historical scores are purer with regard to editorial interference yet contaminated by the involvement in the sources of foreign hands. The historical scores show that which for various reasons Chopin agreed to have published.
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Ludwig van Beethoven: Piano Concerto No.5 In E-flat Op.73 - Emperor: Orchestra:
Piano and Orchestra
[Set of Parts]
Barenreiter
E-flat major-Many wholly new corrections in the solo and orchestral parts.Piano ...
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E-flat major-Many wholly new corrections in the solo and orchestral parts.Piano reduction with a separate solo part as was customary in Beethoven’s day.With Beethoven’s continuo figures for the first time in a modern edition.Beethoven’s fifth and final Piano Concerto is at the same time the culmination of his efforts in this genre and a reflection of all his artistic skill and expertise. The surviving manuscripts provide a clear insight into his working methods and his intentions regarding the work’s performance.The editor Jonathan Del Mar has closely scrutinised the autograph solo piano part and reproduced Beethoven’ssophisticated performance instructions for the first time in a modern edition. Among other things this has special repercussions for the left-hand figured bass line of the piano part during the tutti passages.As with the Piano Concertos Nos. 1 to 4 the Piano reduction appears with a separate solo part containing all the information needed by the soloist to conduct the ensemble from the Piano.
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Konzertante Werke Op. 32 Wev N.15
Piano and Orchestra
Schott
Carl Maria von Weber's fame rests mainly on ?Der Freischütz'. The unprecedented...
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Carl Maria von Weber's fame rests mainly on ?Der Freischütz'. The unprecedented success of this opera overshadowed all his other works and contributed to their increasing fall into oblivion. Certain works such as ?Preciosa', ?Oberon', and ?Euryanthe', the overtures, solo concertos and piano sonatas, the lieder and chamber works enjoyed great popularity and were widely known in Germany and abroad as late as the second half of the 19th century. However, any chance of a revival of Weber's influential and substantial oeuvre was wasted in the 1920s, when a complete edition - begun by Hans Joachim Moser and with potential contributors including Wilhelm Kempff, Hans Pfitzner, Max von Schillings, Fritz Stein and Richard Strauss - failed after the third volume.Ever since there have been numerous attempts to restart a complete edition of Weber's works, but as this kind of project would have required the co-operation of scholars from both sides of the inter-German border, the political situation after 1945 was not conducive to any such enterprise. Careful negotiations led to the first tangible steps in the 1980s. The intention, right from the beginning, was to place Weber's work in context, and not to separate his musical output from his influential work as a writer, critic and organiser in the musical field, but to publish his compositions together with his letters, diaries and other literary output as the best way to document the cross-fertilisation between his musical, literary and practical activities.Since the German re-unification both working-parties concerned - at the Staatsbibliothek zu Berlin, and at the Musikwissenschaftliches Seminar, Detmold/Paderborn - have co-operated on the complete edition of the musical works (c. 45 volumes in 10 series: sacred music - cantatas, odes and other occasional works - stage works - lieder and vocal works - orchestral works - chamber music - music for piano - piano reductions - miscellanea, arrangements and orchestrations - works of doubtful attribution). The diaries (6-8 vols.) are edited in Berlin and the letters (8-10 vols.) and other writings (2 vols.) in Detmold. This complete edition aims to be a reliable basis of scholarly debate as well as for the authentic performance practice of Carl Maria von Weber's music. Conforming to the standards of recent historico-critical editions, the textual material will be based on all available authentic sources, accompanied by a detailed documentation of the genesis and a list of variants for each work. The musicological importance of the works will be evaluated by placing them in their historical context, the presentation of their genesis, history and Critical Commentaries. The letters, writings and diaries will be treated as inter-related and relevant to each other in the commentaries, therefore readers should benefit from a wealth of concise information and cross-references. / Piano Et Orchestre
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Ludwig van Beethoven: Piano Concerto No.5 In E-flat Op.73 - Emperor: Piano:
Piano and Orchestra
Barenreiter
E-flat major-Many wholly new corrections in the solo and orchestral parts.Piano ...
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E-flat major-Many wholly new corrections in the solo and orchestral parts.Piano reduction with a separate solo part as was customary in Beethoven’s day.With Beethoven’s continuo figures for the first time in a modern edition.Beethoven’s fifth and final Piano Concerto is at the same time the culmination of his efforts in this genre and a reflection of all his artistic skill and expertise. The surviving manuscripts provide a clear insight into his working methods and his intentions regarding the work’s performance.The editor Jonathan Del Mar has closely scrutinised the autograph solo piano part and reproduced Beethoven’ssophisticated performance instructions for the first time in a modern edition. Among other things this has special repercussions for the left-hand figured bass line of the piano part during the tutti passages.As with the Piano Concertos Nos. 1 to 4 the Piano reduction appears with a separate solo part containing all the information needed by the soloist to conduct the ensemble from the Piano.
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Ludwig van Beethoven: Piano Concerto No.5 In E-flat Op.73 - Emperor: Piano:
Piano and Orchestra
[Solo Part]
Barenreiter
E-flat major-Many wholly new corrections in the solo and orchestral parts.Piano ...
(+)
E-flat major-Many wholly new corrections in the solo and orchestral parts.Piano reduction with a separate solo part as was customary in Beethoven’s day.With Beethoven’s continuo figures for the first time in a modern edition.Beethoven’s fifth and final Piano Concerto is at the same time the culmination of his efforts in this genre and a reflection of all his artistic skill and expertise. The surviving manuscripts provide a clear insight into his working methods and his intentions regarding the work’s performance.The editor Jonathan Del Mar has closely scrutinised the autograph solo piano part and reproduced Beethoven’ssophisticated performance instructions for the first time in a modern edition. Among other things this has special repercussions for the left-hand figured bass line of the piano part during the tutti passages.As with the Piano Concertos Nos. 1 to 4 the Piano reduction appears with a separate solo part containing all the information needed by the soloist to conduct the ensemble from the Piano.
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Ludwig van Beethoven: Piano Concerto No.5 In E-flat Op.73 - Emperor: Piano:
Piano and Orchestra
Barenreiter
E-flat major-Many wholly new corrections in the solo and orchestral parts.Piano ...
(+)
E-flat major-Many wholly new corrections in the solo and orchestral parts.Piano reduction with a separate solo part as was customary in Beethoven’s day.With Beethoven’s continuo figures for the first time in a modern edition.Beethoven’s fifth and final Piano Concerto is at the same time the culmination of his efforts in this genre and a reflection of all his artistic skill and expertise. The surviving manuscripts provide a clear insight into his working methods and his intentions regarding the work’s performance.The editor Jonathan Del Mar has closely scrutinised the autograph solo piano part and reproduced Beethoven’ssophisticated performance instructions for the first time in a modern edition. Among other things this has special repercussions for the left-hand figured bass line of the piano part during the tutti passages.As with the Piano Concertos Nos. 1 to 4 the Piano reduction appears with a separate solo part containing all the information needed by the soloist to conduct the ensemble from the Piano.
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Philip Glass: Piano Concerto No.2: Piano: Score
Piano and Orchestra
[Sheet music]
-
Intermediate/advanced
Dunvagen Music Publishers
Internationally renowned minimalist Philip Glass composed this Piano concerto in...
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Internationally renowned minimalist Philip Glass composed this Piano concerto in the traditional three-movement form. The first movement titled ‘The Vision’ is classic Glass with a steamroller quality that suggests the immensedrive and ambition the two explorers needed to draw on for their journey into the wilderness. At the beginning of the second movement the theme in the solo Indian Flute musically represents the name ‘Sacajawea’ the ShoshoneIndian mother and guide who assisted the explorers on their way for whom the movement is named.The final movement entitled ‘The Land’ is an exploration of expansiveness both of the land that was being explored but also of thegeologically expanded time over which the landscape has evolved and the great changes that followed Lewis and Clark’s journey.This concerto is designated as part of The Concerto Project recording series started by Glass in theyear 2000 currently in four volumes and including eight concerti.American composer Philip Glass is widely known as one of the most celebrated influential and prolific of the modern composers. He is frequently referred to as aminimalist though he prefers to call himself a composer of ‘music with repetitive structures.’ His operas among them the renowned Einstein On The Beach are performed across the globe and he has created work for small andlarge ensembles film and experimental theatre and founded his own performing group The Philip Glass Ensemble.
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