Concerto for Piano and Orchestra by Henryk Wars

101

Musica Iagellonica 2018 eISSN 2545-0360

Marek Żebrowski (Polish Music Center, USC, Los Angeles)

Concerto for Piano and Orchestra by Henryk Wars: Discovering a Masterpiece

Introduction

The solo concerto has had a long and distinguished pedigree that reaches back into the Baroque era, when this genre was introduced into the music literature canon. The Classical era had furnished the concerto with an enduring and care-fully worked-out formal design, whilst the Romantic era ushered in the experi-mentation that highlighted the soloist’s virtuosity and relaxed the classical-era formal layout. With the improvements in piano construction and extension of its range from just under the six octaves in the 1790s to the Erard’s seven-octave grand in the 1820s 1 to just shy of seven and half octaves (or more on Bösendorf-er Imperial Grands), by the end of the nineteen century the romantic virtuosos were liberated to display their strengths on concert stages and in elegant salon appearances as they performed on new and larger concert grand pianos with a more resonant sound and faster-responding mechanical action.

In addition to the traditional, Classical-era concerto with its three standard movement structure, by the early 1800s a number of one-movement concertos – often called Koncertstück, Pièce de concert or Concertino – also began to appear. Serving as an effective vehicle for the virtuoso display, they frequently became a useful calling card for the composer, who was often also the intended soloist.

1 James Parakilas, Piano Roles – Three Hundred Years of Life with the Piano (New Haven and London: Yale University Press, 1999), 50.

Marek Żebrowski

102

Some of the best-known early examples of this genre include Weber’s Konzertstück Op. 79 (completed in 1821 just after the premiere of his Der Freischütz) and Mendelssohn’s Capriccio brilliant Op. 22 (dating from 1832, just after Mendelssohn met Chopin). Chopin, too, contributed three notable examples of one-movement concert pieces to this niche repertoire, including Variations Op. 2, Grand Fantasia on Polish Airs Op. 13 and Krakowiak Op. 14, all dating from the late 1820s. Liszt’s Totentanz (completed in 1849 and revised in 1853 and 1859) is yet another example of this genre.

When it comes to the one-movement concert pieces, the first movement of Schumann’s celebrated Piano Concerto Op. 54 may have been the most influential example for the coming generations of composers, since it was ini-tially conceived as a self-standing work. Schumann already wanted to write for piano and orchestra when he was only seventeen and mentioned the “be-ginnings of a piano concerto in F minor” in his diary. 2 A few years later, his Leipzig notebooks from 1831–1832 contain sketches of a Piano Concerto in F major. It would be, however, only after his first two symphonies (the B-flat and the D minor in its original version) that Schumann – deeply in love and recently married to the piano virtuoso Clara Wieck – between May 4 and 20, 1841 composed a Phantasie for Piano and Orchestra for his new bride. This version was tried out at a private rehearsal at Lepizig’s Gewandhaus rehearsal on 13 August, with Clara expecting her first child, Marie, who was born at the end of the month. 3 It took four more years, after Robert and Clara moved to Dresden, when Schumann decided to turn his Phantasie into a full-fledged, three-movement concerto by adding a charming, intimate Intermezzo and an ebullient and sparkling Finale. A decade later, Schumann returned to the idea of a one-movement piano concerto with his Konzertstück in G major Op. 92 (1852) and the Introduction and Allegro Op. 134 (1855).

With the popularity of Schuman’s Op. 54, it is worth remembering how successful – musically and formally – the first movement of this concerto is, and how well it can stand on its own as an independent musical work, exactly as it was initially envisioned by the composer. The brisk three-bar introduction gives way to the first subject in A minor that – as it turns out – provides the seeds for the musical material of the entire movement. The second subject – in

2 Robert Layton, Ed., A Companion to the Concerto (London: Christopher Helm, 1988), 152.3 Ibid.


103

C major – proves to be another transformation of the first theme. The develop-ment starts with a ruminative Andante espressivo dialogue where leisurely pia-nistic passagework provides the background for clarinet solo recollections of the original first subject. The nocturnal atmosphere of this interlude is suddenly interrupted by an impassioned dialogue between piano and orchestra based on the opening three bars of introduction. The following Passionato section revisits the second subject and leads to an expected recapitulation that culminates in the lead-in to a solo cadenza followed by a joyous Allegro molto coda bringing this Phantasie (or Konzertstück) to a well-proportioned close.

It is impossible to speculate about the teaching methods or the subjects in form and analysis and composition classes given by Roman Statkowski and Henryk Melcer-Szczawiński who were Henryk Wars’s teachers at the Warsaw Music Academy in the 1920s. One may only guess that Schumann’s Op. 54 may have been covered in a lecture devoted to the romantic piano concerto or perhaps discussed and analyzed as one the seminal works in the nineteenth century solo concerto canon. If so, Wars’s Piano Concerto written a quarter century after he completed his academic coursework would demonstrate that he absorbed his composition course experience very well indeed.

HistoryOne of the most significant recent discoveries in the history of Polish music is the catalogue of symphonic music by Henryk Wars. Long known for many film soundtracks and countless hit songs composed in Poland during the inter-war period and in the United States in the 1950s and the 1960s, Wars was also a clas-sically trained composer who left a substantial legacy of finely crafted, large-scale orchestral works. They were written soon after he settled in California in 1947, and quite a few years before he had a chance to redefine himself as a film com-poser in Hollywood. With little else to do but compose music that he may have wanted to write earlier but never had the time, during his early years in America Wars devoted most of his passion and energy to completing such large scale works as Symphony No. 1 (1948–1949), Piano Concerto (1950), City Sketches – Orchestral Suite (1951/1969–1974), and Sonatina for Orchestra (a three-move-ment work dedicated to the memory of Maurice Ravel), among others. 4 All of

4 The manuscript of the work does not indicate its completion date. From indirect referen-ces and sketches one might surmise that Wars worked on this composition from the mid–1950s into the early 1970s.

Marek Żebrowski

104

these compositions are expertly scored for substantial performing forces with large string sections, double or triple winds, harp, celesta and extended percus-sion ensemble.

When it comes to works for piano and orchestra, one might consider what other influences might have inspired Wars when he was writing his Piano Con-certo in Hollywood in the late 1940s. Since he spent his first dozen or so years of life in France, was fluent in the language and always fond of French culture, he might have looked to French literature in this genre for inspiration. Thus it is possible that Wars could have been familiar with such one-movement piano and orchestra compositions as African Fantasy Op. 89 by Camille Saint-Saëns or Gabriel Fauré’s Ballade for piano and orchestra Op. 19. Another important point to consider is that, according to Wars’s widow, Elizabeth, the composer had met Ravel in Paris in the early 1930s and may have taken a lesson or two with him.

Since Wars’s Piano Concerto successfully combines and even, to a large ex-tent, embodies the neo-romantic spirit of concertos by Tchaikovsky and Rach-maninov, it is impossible also not to contemplate if Wars had actually studied the scores of Tchaikovsky’s First Piano Concerto and, especially, Rachmani-nov’s First and Second Piano Concertos. Such Russian influences notwith-standing (and quite understandable, given Wars’s studies with Statkowski), at the same time, Wars’s Piano Concerto clearly pays homage to the expansive style of Hollywood epic scores from the era. It may be also possible that such works as Arthur Benjamin’s Concertino for Piano and Orchestra (1927) – a co-lorfully-scored, jazzy and quasi impressionistic compilation of film music in a multi-sectional, episodic one-movement work – might have been one of Wars’s inspirations. Another model was certainly provided by Gershwin’s Rhapsody in Blue (1924), the echoes of which resonate in Wars’s Piano Concerto as we shall see. One thing, however, is beyond doubt: again, according to Elizabeth Wars, Richard Addinsell’s 1941 Warsaw Concerto was apparently one of Wars’s favorite pieces of music. As it turns out, listening to the heroic character of Addinsell’s work, together with Schumann’s original Phantasie – later the first movement of his Op. 54 Piano Concerto – proved to be by far the most direct and seminal inspirations for Wars’s essay in this genre.

AnalysisWars’s Piano Concerto is a skillfully designed one-movement work with a strongly neo-romantic character, sparkling virtuoso solo part, and richly-sco-


105

red orchestral accompaniment. Using the traditional sonata allegro layout, Wars effectively introduces several very attractive melodic ideas and skillfully shapes them in into a successful one-movement formal design. The orche-stration includes three flutes, oboes and clarinets, two bassoons, four horns, three trombones, percussion (triangle, cymbals, big drum, tympani), harp and strings. The overall key of the piece is F minor, with the last two sections firmly set in tonic major. Depending on the individual performance, the Concerto is about 10–12 minutes long.

A short, four-bar call to arms marked Maestoso introduces a dotted rhythm motive. It is grounded on the dominant pedal point C, with the top melodic line rising chromatically from C to E natural. In its function and pattern of dotted rhythms, as well as in its structural aim, Wars’s Maestoso introduction echoes the opening of Schumann’s Op. 54:

&

&

&

?

c

c

c

c

Piano Solo

Orchestra

‰ . Rœœœ# œœœ œœœ ≈ œœœ# œœœ ≈ œœœ#

‰ . Rœœœ# œœœ œœœ ≈ œœœ# œœœ ≈ œœœ#

Jœœ ‰ Œ Ó

jœœ ‰ Œ Ó

f

ß

ß

Allegro affetuoso

œœœb ≈ œœœ# œœœ ≈ œœœ# œœœ ≈ œœœ# œœœ ≈ œœœ#œœœb ≈ œœœ# œœœ ≈ œœœ# œœœ ≈ œœœ# œœœ ≈ œœœ#?

∑

∑

œœœb ≈ œœœ#n œœœ ≈ œœœjœœœ ‰ J

œœœœ##n ‰

œœœb ≈ œœœ#n œœœ ≈ œœœjœœœ ‰ jœœ ‰

Ó Œ Jœœœœ## ‰

Ó Œ jœœ ‰

ß ß

ß

Jœœœœ ‰ Œ Ó

jœœ‰ Œ Ó

jœœ ‰ Œ Ó˙̇ ..œœ Jœœ

jœœ

˙̇ ..œœ Jœœ

ß

Í

∑

∑

˙̇ œœ œœ œœœ# œœœ

˙̇ œœ œœ œœ œœœ

Example 1: Schuman, Piano Concerto Op. 54 (bars 1–5)

&

?

&

?

bbbb

bbbb

bbbb

bbbb

c

c

c

c

Piano Solo

Orchestra

.œ œ .œ œ œœœœœ

..œœœ .œ œ œ

œœœ

.˙jœœœœ>

..˙̇œœœ>

ƒ

Maestoso

ƒ

.œ œ .œ œ œœœœœ

..œœœ .œ œ œ

œœœ

.˙jœœœœ>

..˙̇œœœ>

.œ œ .œ œ œn œœœœnn

..œœœ .œ œ œn œœœn

.˙jœnœœœn>

..˙̇œœœn>

œœœœ>

Œœœœœnn> Œœœœ

> œœœn>

Œ œ>

Œ œ>

œœ>

œœ>

œœœ>

œ>œœœœnn>

œ>œœœ> œœ>

œœœn>œœ>

Example 2: Wars, Piano Concerto (bars 1–4)

Marek Żebrowski

106

Right after this formal opening, Wars’s Piano Concerto launches into Allegro con moto in bar 5, marking the beginning of the movement proper by establishing the F minor tonic in the course of the first two bars with a pul-sating ostinato orchestral accompaniment. The soloist enters at the end of bar 6 with the heroic main subject built on the urgently sounding octaves in a characteristic rhythmic pattern of two sixteenths and a dotted quarter note. The chords and repeated octaves are interspersed with fluid runs within piano’s upper register and the whole fabric provides a dramatic tone that is somewhat reminiscent of the overall character of the opening orchestral tutti of Addin-sell’s Warsaw Concerto.

&

?

&

?

bbbb

bbbb

bbbb

bbbb

c

c

c

c

Piano Solo

Orchestra

œœœœ Œ Ó

œœŒ Ó &

...œœœ œœ œ> ‰ . rœœ œn>3

œ œ œ3

œ œ œ3

œ œ œ3

œ œ œ

Allegro con moto

Ó Œ ‰œœ œœ

Ó Œ ‰ œ œ

‰ . rœœ œb>‰ . rœœ œn>

3

œ œ œ3

œ œ œ3

œ œ œ3

œ œ œ

....œœœœ œœ œœ ..œœœœ œœ

...œœœ œ œ ....œœœœ œ œ

..œœ œ œ> ‰ . rœœ œn>3

œ œ œ3

œ œ œ3

œ œ œ3

œ œ œ

....œœœœb œœ œœ ˙̇̇̇˙b

....œœœœb œ œ ˙̇˙˙b?

‰ . rœœ œb>‰ . rœœ œn>

3

œ œ œ3

œ œ œ3

œ œ œ3

œ œ œ

Œ œœœœ ≈ œœn œœœœœœ

Œœœœ œn œ œ œ &

œ œ œœn œ œ œ

˙̇ jœn œ jœ˙ ˙

&

&

&

?

bbbb

bbbb

bbbb

bbbb

√6

œ œb œ œb œ œb œ œbœ œb œ œ œ œ œ œb

....œœœœn œœ œœ

....œœœœn œ œ6 œœœ œœœ

...œœœn ‰

˙̇˙b œœœ

n œœn

S....œœœœb

œœ œœ ..œœœœ œœ

...œœœ œ œ ...œœœ œ œ...œœœ œ œ> ‰ . rœœ œn>

3

œ œ œ3

œ œ œ3

œ œ œ3

œ œ œ

....œœœœb œœ œœ ˙̇˙˙n

....œœœœb œ œ ˙˙˙˙n

‰ . rœœ œb> .œ œœ œn>3

œ œ œ3

œ œ œ3

œ œ œ3

œ œ œ

Example 3: Wars, Piano Concerto, first subject (bars 5–12)


107

&?

&

?

bbb

bbb

bbb

bbb

C

C

C

C

Piano Solo

Orchestra

∑

∑

. .. .. .. .œœœœrœœ . .. .œœ

rœœ3

œ œ œ3

œ œ œ3

œ œ œ3

œ œ œ

F

Allegro

∑

∑

...œœœ œœ ˙̇ œœ

3

œ œ œ3

œ œ œ3

œ œ œ3

œ œ œ

∑

∑. .. .. .. .œœœœ R

œœ . .. .œœ Rœœ

3

œn œ œ3

œ œ œ3

œn œ œ3

œ œ œ

∑

∑...œœœ œœ ˙̇ œœ##

3

œb œ œb3

œ œ œ3

œb œ œ3

œ œ œ

&?

&

?

bbb

bbb

bbb

bbb

5 ∑

∑5

....˙̇̇̇ œœ

5

3

œœœ œ

3

œ œ œ

3

œ œ œ3

œ œ œ

f

Addinsell: Warsaw Concerto, b. 5-12

∑

∑œœ œœ ..œœ J

œœ3

œœœ œ

3

œ œ œ œœ Œ

∑

∑...˙̇̇n œœ

3

œ# œ œ3

œn œ œ3

œ# œ œ3

œn œ œ

∑

∑œœœœ œœ ....œœœœ J

œœ3

œn œ œ3

œb œ œ3

œ œ œ3

œ œ œ

Example 4: Addinsell, Warsaw Concerto (bars 5–12)

The first subject begins to migrate towards a new material (bars 15–18) and a two bar transition repeated once an octave lower (bars 19–22) that modulates and leads to a new subject in D-flat major (see bar 23, letter A). Introduced by the soloist, this second subject is based on a steadily rising stepwise quar-ter-note melodic line presented in two-bar phrases. Two repetitions of it follow and, once done, the orchestra takes the lead in announcing the second subject. It is again presented in two-bar phrases that receive more and more virtuosic responses from the soloist.

From bar 37 (letter B), the key is F major and a culmination leads to the short, written out solo cadenza. Following the cadenza, the new – third – subject is given exclusively to the soloist. Marked Andante (bar 44, letter C), it is a beuti-fully lyrical arrangement of Wars’s hit song, Po mlecznej drodze [Along the Milky Way], composed in Iraq in 1942 to text by Feliks Konarski and sung by Rena Anders for the Polish Second Corps soldiers on their trek from Persia to Monte Cassino. This song was also successfully used in Michał Waszyński’s 1946 feature film, Wielka droga [La Grande strada], with Rena Anders in the lead.

Marek Żebrowski

108

&

?

&

?

bbbb

bbbb

bbbb

bbbb

c

c

c

c

Piano Solo

Orchestra

œœœœ œœœœ œœœ œœœœ3

œ œ œ3

œ œ œ3

œ œ œ3

œ œ œ

.œ œ œ œ .œ œ

www

A œn ˙ œœœœnnb6œœ œ

œœ

œœ œœœ

6œœ œœœb

œœ œœœ

6œœn œœœn

œœ œœœ3

œ œ œb

œœœn œ œb œn œ œ

ww

œœœœ œœœœ œœœ œœœœ3

œ œ œ3

œ œ œ3

œ œ œ3

œ œ œ

.œ œ œ œ .œ œ

www

&

?

&

?

bbbb

bbbb

bbbb

bbbb

4 œn ˙ œnœœœnnb6œœbn œ

œœ

œœ œœœ

6œœœœœb

œœœœœ

6œœn œœœn

œœœœœœ3

œœœb

4

œœœnbn œ œœbb œœn œœb

ww

œœœœb œœœœ œœœœ œœœœ3

œ œœ

3

œ œ œb3

œ œœ3

œb œ œ

œœ œœ œœb œœb

˙˙ ˙̇

œn ˙ œœœœ∫nb6œœ∫ œ

œœb

œœ œ

œœ

6œœ œ

œœ

œœ œ

œœ

6œœ œ

œœ

œœœ

œœ6

œb œ œ∫ œ œb œ∫&

Jœn œb .œ∫ œ ˙̇b

˙̇˙b

∫b

Example 5: Wars, Piano Concerto, second subject (bars 23–28)

&

?

&

?

b

b

b

b

c

c

c

c

Piano Solo

Orchestra

.œ jœ œ œ œ œ˙ œœ œœn

˙ œ> œb >œœœœœœœœœœ

œœ œb œ œn œ

∑

∑

C Andante

p cantabile

.˙ œ œ œ# œ# œ œ# œ#œœœœ œ œ œ#

œ œ œœb

œ# œ# œœ œ#

œ œ œ

∑

∑

..œœn jœœ œœ œœ œœ œœ˙ ˙

œ œœn œœœœœœœœœœœœœœœ

∑

∑

˙ .œ œ œ œ œ œ œ œœœ œ œ œb œ œ

œb œ œ œ œ œœ œ œ œ œ œ

∑

∑

&

?

&

?

b

b

b

b

5 .œ jœ œ œ œ œ˙b œœ œœ œœb

œ œ œ œœ œ œ

œb œ œ œb œ œ œ œ œœœœœ

5 ∑

∑

Wars: Piano Concerto, b. 44-52

œœ œœ ..œœ jœœ˙ ˙#

œ œœ œ œ œ œ œ œ œ

œ# œ œ œ œ œ

∑

∑

..œœ jœœ œœœ œœœb œœœn œœœn˙̇œ œ œ œ œ# œ œn œ œn œ œ# œ œ œ œ œ˙ ˙

∑

∑

˙̇̇b Jœœœ#b# œœœn jœœœœbn#n

œ œ œ œb œ œ œ œ ≈ œ œ œ# œ œ œ œÓ Œ ‰ Jœ

∑

&

?

&

?

b

b

b

b

9 œœœœœ Œ Ó

9 .œ jœ œ œ œ œœ œ œ œ œn

‰ jœ .œ œ œ œb˙ œ œbp dolce

∑

∑

˙ œ œ œb œb œn œ# œ#œ œ3

œ œ œ œn .œ œn

œ œ ˙̇bb˙ ˙b

∑

∑

œœœ

œœœ


109

The orchestra takes over the third subject in bar 52, with clarinets and En-glish horn initially carrying the melodic line. Two bars later all woodwinds join in and, as the texture and emotion build up, the upper strings voice the melodic line in concert with the upper woodwinds.

Following a brief climax, the tension subsides and there is a deft key chan-ge with a modulation from F major to A minor in bar 59. A lovely and wistful variation of the third subject appears in bar 60, when cellos have a chance at the melody against an arpeggiated piano accompaniment. The soloist then announces another variant of this melody in a steadily declining line until the entire section dies out on the key of E major in bar 70.

The development begins with a slow, Doloroso section (bar 71). With the cellos and basses holding the pedal point E, the soloist has an episode of chords with a rhythmic pattern reminiscent of the opening piano solo in Addinsell’s Warsaw Concerto and of a section in Gershwin’s Rhapsody in Blue that receives a more elaborate and extended treatment in Wars’s Piano Concerto:

&

?

&

?

b

b

b

b

c

c

c

c

Piano Solo

Orchestra

.œ jœ œ œ œ œ˙ œœ œœn

˙ œ> œb >œœœœœœœœœœ

œœ œb œ œn œ

∑

∑

C Andante

p cantabile

.˙ œ œ œ# œ# œ œ# œ#œœœœ œ œ œ#

œ œ œœb

œ# œ# œœ œ#

œ œ œ

∑

∑

..œœn jœœ œœ œœ œœ œœ˙ ˙

œ œœn œœœœœœœœœœœœœœœ

∑

∑

˙ .œ œ œ œ œ œ œ œœœ œ œ œb œ œ

œb œ œ œ œ œœ œ œ œ œ œ

∑

∑

&

?

&

?

b

b

b

b

5 .œ jœ œ œ œ œ˙b œœ œœ œœb

œ œ œ œœ œ œ

œb œ œ œb œ œ œ œ œœœœœ

5 ∑

∑


œœ œœ ..œœ jœœ˙ ˙#

œ œœ œ œ œ œ œ œ œ

œ# œ œ œ œ œ

∑

∑

..œœ jœœ œœœ œœœb œœœn œœœn˙̇œ œ œ œ œ# œ œn œ œn œ œ# œ œ œ œ œ˙ ˙

∑

∑

˙̇̇b Jœœœ#b# œœœn jœœœœbn#n

œ œ œ œb œ œ œ œ ≈ œ œ œ# œ œ œ œÓ Œ ‰ Jœ

∑

&

?

&

?

b

b

b

b

9 œœœœœ Œ Ó

9 .œ jœ œ œ œ œœ œ œ œ œn

‰ jœ .œ œ œ œb˙ œ œbp dolce

∑

∑

˙ œ œ œb œb œn œ# œ#œ œ3

œ œ œ œn .œ œn

œ œ ˙̇bb˙ ˙b

∑

∑

œœœ

œœœ

Example 6: Wars, Piano Concerto, third subject (bars 44–54)

Marek Żebrowski

110

&

&

?

&

?

bbb

bbb

bbb

bbb

bbb

c

c

c

c

c

Piano Solo

Orchestra

√Œ œœœœ

3

œœœœ œœœœ œœœœ3

œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ3

œœœœnn œœœœ œœœœ

Œ œœœœ3

œœœœ œœœœ œœœœ3

œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ3

œœœœnn œœœœ œœœœwwwU

w> wU

w>w

f

sostenuto (middle) pedalS. P. ..................................................................................................................................................................................................................................

f

f

col ped.

Ad lib. (quasi cadenza)

col ped.

....œœœœbbb jœœœœb

....œœœœbbb jœœœœb

www

. . œœ> œœ

3

œœ> œœ œœ

. . œœ>

œœ3

œœ>

œœ œœ

&

&

?

&

?

bbb

bbb

bbb

bbb

bbb

C

C

C

C

C

√3 Œ œœœœœnn3

œœœœœ œœœœœ œœœœœ3

œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ3

œœœœœbb œœœœœnn œœœœœbb .....œœœœœjœœœœœ

Œ œœœœœnn3

œœœœœ œœœœœ œœœœœ3

œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ3

œœœœœbb œœœœœnn œœœœœbb .....œœœœœ jœœœœœbwwwwwwnU

w> wU

w>w

..................................................................................................................................................................................................................................

wwww #

wwwwww #

œœ œœ œœ>œœ

3

œœ>œœ œœ œœ

>œœ œœ œœ

œœ œœ œœ>œœ

3

œœ>œœ œœ œœ

>

œœ œœ œœ

*

Example 7: Addinsell, Warsaw Concerto, bars 1–4

&

?

###

###

c

cPiano Solo

‰œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœnnb

> œœœ œœœ œœœ# œœœnnn>

jœœœœœ œœœœœœ œœœœœœ œœœ œœœ œœœbbn > œœœn œœœ œœœ#n# œœœnbn >

& ?

(Poco agitato)

ƒ

Gershwin: Rhapsody in Blue, b. 68-70

molto marcato

‰ œœœ# œœœ œœœ œœœ œœœ œœœ œœœ œœœnnn> œœœ œœœ œœœnn# œœœnnn

>

jœœ

œœœ# œœœ œœœ œœœ œœœ œœœ œœœ œœœnbn > œœœ#n œœœ œœœ### œœœnnn >‰ œœœnnn œœœ œœœ œœœ œœœ œœœ œœœ œœœnnn

> œœœnb œœœ œœœnnb œœœnn>jœœ

œœœnb œœœ œœœ œœœ œœœ œœœ œœœ œœœn# > œœœbbn œœœ œœœ œœœnn >

Example 8: Gershwin, Rhapsody in Blue, bars 68–70


111

&

?

43

43Piano Solo

‰ jœœœœ#3

œœœœ œœœœ œœœœ œœœœ>œœœœ>

œœœœ>œœœœ>

‰ jœœœœ#3

œœœœ œœœœ œœœœ œœœœ>œœœœ>

œœœœ>œœœœ>..˙̇

Doloroso

p

poco rubato e nervoso

Jœœœœ œœœœnn

>Jœœœœ œœœœ

> œœœœ

Jœœœœb œœœœ#n J

œœœœ œœœœœœœœ

f‰ œœœœ#>

œœœœ>œœœœ>

3

œœœœ œœœœ œœœœ#‰ œœœœ#>

œœœœ>œœœœ>

3

œœœœ œœœœ œœœ##n..˙̇p

....œœœœn œœœœœœœœb œœœœ

...œœœn œœœ œœœb œœœŒ ˙̇

&

?

5 ....œœœœ# œœœœbœœœœbbb œœœœbb

...œœœ# œœœb œœœbb œœœnbnŒ ˙̇

....œœœœn œœœœbbbb œœœœnn#œœœœbbbn

...œœœn œœœbb œœœ##n œœœbbnŒ ˙̇

œœœœbbn œœœœnn#nœœœœn

œœœœb œœœœ

œœœb œœœ## œœœnn

œœœb œœœ

‰Jœœ ˙̇

‰jœœœœ#

3

œœœœ œœœœ œœœœ œœœœ> œœœœ> œœœœ

>œœœœ>

‰ Jœœœ#

3

œœœ œœœ œœœ œœœ œœœ œœœ œœœ

..˙̇&

&

&

c

c

9

Jœœœœ œœœœnn

>Jœœœœ œœœœ

> œœœœ

jœœœœb œœœœ#n

jœœœœ œœœœœœœœ ?

‰ œœœœ# œœœœ œœœœ3œœœœ œœœœ œœœœ#‰ œœœ# œœœ œœœ

3

œœœ œœœ œœœ##

..˙̇

....œœœœn œœœ# œœœn œœœ#

...œœœn œœœ#b œœœnb œœœ##Œ ˙̇

&

?

c

c

12 ˙̇̇̇n# œœœœn œœœ# œœœn œœœ#˙̇̇n# œœœn# œœœ#n œœœnb œœœ#bŒ ..˙̇

˙̇̇̇# œœœœn œœœb œœœ œœœ#˙̇̇# œœœn# œœœnbb œœœnn œœœ#bŒ ..˙̇

˙̇̇̇n# œœœœ#n œœœn œœœ œœœ#˙̇̇n# œœœ##n œœœnnb œœœ# œœœ#nŒ ..˙̇

rit.

œœœœ#Œ Ó

œœœnb œœ œœ œœ

Example 9: Wars, Piano Concerto, bars 71–85

Wars’s leisurely opening of the development section could also have been inspired by the mood present at the beginning of the development in Schu-mann’s Op. 54 (the A-flat major episode marked Andante espressivo, where wood winds and piano carry out the melodic dialogue):

Marek Żebrowski

112

&

?

&

?

bbbb

bbbb

bbbb

bbbb

46

46

46

46

Piano Solo

Orchestra

. œ œ

œ œ œ œ œ œ œ œ œœ œ œ& ?

œœ Œ Œ Œ

.w

Andante espressivo {hd = 72}

sempre pp

p

. .œ œ œ œ

œ œ œ œ œ œ œ œ œœ œ œ& ?

∑

.w

. Œ

œ œ œœœ œ œ œ œ

œ œ œ

∑

.w

∑

œ œ œœ œ œ œ œ œ œ

œ œ

. .w .

..ww

sempre legato

&

?

&

?

bbbb

bbbb

bbbb

bbbb

5 ∑


œ œ

. œ œ

.w

pespr.

∑


œ œ

. .œ œ.- œ.- œ.-

.w

∑7

œ œ œ œœ œ œ

7

œ œ œ œœ œ œ

. .

.w

∑7

œ œ œ œœ œ œ

7

œ œ œ œœ œ œ

. .w .

..wwπ

&

?

&

?

bbbb

bbbb

bbbb

bbbb

9 ‰ jœ .7

œ œ œ œœœ œ

7

‰ œ œœ œ œ œ

∑

.w

p

œ œ œ

œ œ œœœ œ

œ œn œ œnœ œ

∑

. .

œ œ .

œ œ œœ œ œ œ œ œ œ œ œ

∑

.w

∑

œ œ œœb œ œ

7

œ . œ œ œœ œb œ

..wwb

..ww. .p

Example 10: Schumann, Piano Concerto, first movement (bars 156–167)


113

Just as Schumann’s dreamy Andante espressivo suddenly gives way to Tempo I Allegro and the development proceeds apace, so too does Wars: with the Allegro con moto designation in bar 86, the Doloroso section fades out and tempo primo returns with the development being swiftly launched. Moving in two-bar phrases and featuring densely chromatic harmony, Wars builds a quick climax that leads to a fermata at the end of bar 93. His procedure for arriving at this point and the chordal textures given to the soloist are quite similar to what Rachmaninov used in the development of the first movement of his Pia-no Concerto No. 1:

&

?

&

?

c

c

c

c

Piano Solo

Orchestra

œ œ œ œ œb œ œb œb œn œ# œn œn œb œ œb œb

œb œ œn œ#

œœœ@ œœœbb @ œœœn#n @ œœœbb @

œb> œ> œn> œ#>

(Allegro con moto)

cresc.

œn œ# œn œn œ œ œ œ œ# œ# œ# œ# œn œ œ œ

œ# œn œœ œœ##

œœœn#n @œœœ@

œœœ### @œœœn@

œ#> œn> œ> œ#>

&

?

&

?

3 œœ## ˙̇ œœbb3

‰œœbn œœ

3‰

œœn# œœ3

‰œœ œœ

3

œœ œœ œœ

œœbbœœœbb œœœ œœœn## œœœ œœœ œœ

œœœn œœœ œœœ œœœ œœœ

3 œœœ### @œœœ#@

œœœn@œœœnbn@

œœbn œœ# ˙̇˙#n



f

ƒ

œœ ˙̇nnjœœœœbbnb

u

Uœœ,

œœ3

‰œœn œœ

3‰œœb œœ

3‰

œœbb œœ œœœnnn œ œ

œœbbœœœnb œœœ œœœn œœœ œœœ œœn

œœœbn œœœ

œœœnb@œœœnn@

œœœb@œœœœ@

˙̇˙bnb ˙̇

˙n

ƒ Ï

Ï

rit.

rit.

Example 11: Wars, Piano Concerto, development, bars 90–93

Marek Żebrowski

114

&

?

&

?

###

###

###

###

Piano Solo

Orchestra

œœ- œœ##

- œœ#- œœ#

-

3‰

œœ# œœ3

‰œœ œœ

3‰

œœ# œœ3‰œœ œœ

3‰ œœœ# œœœ3‰ œœœ œœœ

3‰ œœœ# œœœ3

‰ œœœ œœœ##

ww# -jœ œ# . œ# . œ# .

œ. œ# . œ# . œ# .

œœ.

m. d.

œb œn œ œn6

≈ œn œnœ œb œn

6≈ œ œ

œb œ œ6

≈ œ œœn œ œ

6≈ œ œœb œ œb b

3‰ œœœnb . œœœ-3

œœœ œœœ. œœœ-3

œœœ œœœ. œœœ-3

œœœ œœœ. œœœ.œœbb Œ œœbb Œ

cresc .

&

?

&

?

###

###

###

###

√œœbb- œœnn

- œœ- œœn

-

3‰œœb œœ

3‰œœ œœ

3‰œœbn œœ

3‰œœ œœ

3‰ œœœbb œœœ3‰ œœœ œœœ 3‰ œœœbn œœœ

3‰ œœœ œœœnnbb & ?

wwb -jœb œn . œ. œn .

œb . œn . œ. œn .

œœnn .

cresc .

m. d.

œœbb œœ œœœœnnbb œœbb...œœœbb

œœbb3‰

- œb œ3‰œ œ

3‰ œœœœbbbb œœœœ3‰ œœœœ œœœœ œœœœbbn œœœ

bb &

Œ œœœbbb œœœœbbn œœœbœ œœœbb

Œ œœbb œœbb œœbb

marcatoƒ

f marcato

&

&

&

?

###

###

###

###

(√)œœbb œœb œœœœnnb œœ ...œœœbb

œœbb3‰

- œœbb œœ3

‰ œœb œœ3

œœœbbb œœœœbb œœœœ

3‰ œœœœ œœœœ œœœœbbn œœœœœœbbb

œœœbb œœœœbbn œœœbœ œœœbb

œœbbœœbb œœbb œœbb

œœbb œœ œœœ##n œœnn ...œœœ###œœnn

3‰- œœbb œœ

3‰œœb œœ

3

œœœbbb œœœœbb œœœœ

3‰ œœœb œœœœœœœ#### œœœ##?

œœœbbbœœœœbbb œœœœ# # nn œœœ#n#œ# œœœ

œœbb œœnn œœ## œœ##

Example 12: Rachmaninov, Piano Concerto No. 1, development, bars 153–158

The first subject from the opening Allegro con moto returns in bar 94 with the marking Tempo primo. This time the subject is in C minor and the soloist has two statements of it. In bar 102, three trumpets take over the first subject, whilst the soloist has decorative figurations based on the changing harmonies. Within kaleidoscopic key changes, woodwinds chime in with the main subject in bar 106, reaching a culmination when the main rhythmic feature of the first subject is presented in a stretto by woodwinds and horns in bars 108–109.


115

&

?

&

?

c

c

c

c

Piano Solo

Orchestra

Œœœ œb œ Rœb œœ œb œ Rœb œ œb œ œ

œœœœbb œœbŒ

œœb>@ œœb>@ jœœb>œœœ œœœ

œœœbb Œ Ó

(Allegro con moto)

3‰œ œœ#

3‰ œ# œœ3

‰ œ œœ# 3‰ œ œœ

œœ>œ> œ#> œ>

...œœœb œœœ œœœ ...œœœœœœbb œœœ

œœ>œ> œ#> œ>

3

‰œ œœbb

3

‰ œb œœb3

‰ œ œœb3

‰ œb œœb

œœbb>œb> œb> œb>

....œœœœbbbb œœœ œœœ ...œœœœœœœnnb œœœœ

œœbb>œb> œb> œb>

œœœœbbn 3‰ œ œœœbn3

‰ œ œœœ3

‰ œb œœœ

œœ>

œb> œ> œn>

œœœœb œœn œœ œœ œœ œœ œœœn œœœb œœœ œ œœœbn œœœ

œœ>

œb> œ> œn>


In a deft formal pivot, right at that point, the entire orchestra drops out, with only cellos and basses providing a harmonic grounding: first on the A-flat and later on the F whilst piano presents a clever variation of the opening Maestoso motif:

?

?

&

?

c

c

c

c

Piano Solo

Orchestra

& ?

..œœbb

œb .œ œb

œb œb œ œbœ œb œ œb

∑

œœbbŒ Ó

(Allegro con moto)


p

& ?

..œœbb

œb .œ œb


∑

œœbbŒ Ó

œb œ œb œb œ œ œ œb&

..œœbb

œ .œ

œb .œ œb .œb œb

∑

œœbbŒ Ó

œœœœbbœœœ

3

œœ œœbb> œœnn> 3

œœ>œœbb> œœ>

œ œœb jœœb3J

œœœb> œ>

3

œ> œb> œn>

˙̇b œœbn Œ

˙̇b œœb ŒÓ ...œœœ ‰

&

?

&

?

5

œ œ œb œ œ œ œb œ

..Jœœ

œ .œb œ

5 ∑

œœŒ Ó

œb œ œb œb œ œ œb œb

..Jœœ

œ .œb œ

∑

œœŒ Ó

œ œb œ œ œ œ œ œb

..Jœœ

œ .œb Rœ.œn œ .œ œ

∑

œœŒ Ó

œœœœœœ

3

œœ œœbb>

œœnn>

3

œœ>œœb> œœnn>

œœœbœœœb

jœœn3J

œœœb> œn>

3

œ> œb> œn>

˙̇b œœœbbn Œ

˙̇bn œœ Œ

f

&

?

&

?

9

œœœœbŒ Ó

œœœ Œ Ó9 ‰ œ .œb œ ..œœ Jœ

˙̇˙b jœ œb .œ œf

∑

∑œœœbbb œœbb œœœ œœœ##

˙̇b ˙̇bb

∑

∑

Jœœœœbb œ .œ œ .œb Jœ

˙̇˙bb

jœ œ .œb œb

∑

∑œœœb œœ œœœœbb# œœ

˙̇ ˙̇˙#

Marek Żebrowski

116

?

?

&

?

c

c

c

c

Piano Solo

Orchestra

& ?

..œœbb

œb .œ œb


∑

œœbbŒ Ó

(Allegro con moto)


p

& ?

..œœbb

œb .œ œb


∑

œœbbŒ Ó

œb œ œb œb œ œ œ œb&

..œœbb

œ .œ

œb .œ œb .œb œb

∑

œœbbŒ Ó

œœœœbbœœœ

3

œœ œœbb> œœnn> 3

œœ>œœbb> œœ>

œ œœb jœœb3J

œœœb> œ>

3

œ> œb> œn>

˙̇b œœbn Œ

˙̇b œœb ŒÓ ...œœœ ‰

&

?

&

?

5

œ œ œb œ œ œ œb œ

..Jœœ

œ .œb œ

5 ∑

œœŒ Ó

œb œ œb œb œ œ œb œb

..Jœœ

œ .œb œ

∑

œœŒ Ó

œ œb œ œ œ œ œ œb

..Jœœ

œ .œb Rœ.œn œ .œ œ

∑

œœŒ Ó

œœœœœœ

3

œœ œœbb>

œœnn>

3

œœ>œœb> œœnn>

œœœbœœœb

jœœn3J

œœœb> œn>

3

œ> œb> œn>

˙̇b œœœbbn Œ

˙̇bn œœ Œ

f

&

?

&

?

9

œœœœbŒ Ó

œœœ Œ Ó9 ‰ œ .œb œ ..œœ Jœ

˙̇˙b jœ œb .œ œf

∑

∑œœœbbb œœbb œœœ œœœ##

˙̇b ˙̇bb

∑

∑

Jœœœœbb œ .œ œ .œb Jœ

˙̇˙bb

jœ œ .œb œb

∑

∑œœœb œœ œœœœbb# œœ

˙̇ ˙̇˙#


Another surprise follows here for, as soon as the piano finishes its two four-bar variations on the opening Maestoso, the orchestra takes over in an impassioned and extensive tutti statement beginning in bar 118. The expressive motif that first appeared as the counterpoint within the orchestral accompani-ment had proved quite suitable for a variety of different subjects (see cello line in bars 28–30, horns in bars 38–41, and upper strings in bars 52–54). It is now liberated and appears in all of its soaring glory for the entirety of this tutti that ends in bar 129.

Several modulations finally reach a pedal point A within a palpably present key of D major that makes its appearance in bar 130 with a soloist reentering center stage. As it turns out, now the Concerto’s second subject (originally in D-flat major in the exposition) is presented in a more ornamented piano passagework. This is the only subject that the composer had not yet touched in the development.

&

?

&

?

c

c

c

c

Piano Solo

Orchestra

œ œ# œ œ œ œ# œ œœ œ œ œ œ œ œ œ

œ# œ# œn œn œb œn œ œœ œ œ œ œb œn œ œ

w

˙̇̇̇# ˙̇˙˙bb#n

œœ


p

H

p

Meno mosso

œœœœ##bnœ# œn œ œ# œn œ

œ œn œ œ œn œœ œ# œ œ œ# œ

3

œ œ œ#

œœœœnb# œœœœnn## œœœ œœœœ##

∑



117

Just like in the exposition, the orchestra eventually becomes a partner in the dialogue with the soloist (bars 138–148), but rather than leading into the cadenza (as in the exposition), another surprise is engineered: the soloist re-turns with the first subject against the four bars of orchestral pedal point on G followed by 10 bars of the biggest culmination of solo piano and orchestra built on the pedal point C:

&

?

&

?

c

c

c

c

Piano Solo

Orchestra

....œœœœn œœ œœ ....œœœœbœœnn œœœœœnn œœœœb b

Œ œœŒ œœ....œœœœ

>‰

....œœœœb>

‰

Œ œœ>Œ œœ>

(Allegro con moto)


Ï

ƒ

....œœœœn œœ œœ ....œœœœœœ œœ

œœœœnœœ

œœœœnœœ

....œœœœ>

‰....œœœœ>

‰

Œ œœ>Œ œœ>

....œœœœ œœ œœ ....œœœœbbœœ œœ

œœœœb œœœœœœbbb œœ

....œœœœb>

‰ ....œœœœbbb>

‰

Œ œœ>Œ œœ>

....œœœœ œœœœ ....œœœœbjœœ

œœœœ#n œœœœœœnnnb œœ

....œœœœ#n ‰ œœbn œœn œœnb œœ

Œ œœŒ œœ

œœœb œœœœœ≈ œb œœ# œ≈œœœœ≈œœœ≈œœœ

œœ>

œ#> œ> œb> œ>

œœœb œ# œ œb œ

œœ œ# œ œb œ

F

&

?

&

?

√

◊

√

◊

6 œœœb œ œœœœ≈œœœ œ≈œœœœ≈œœœ≈œœœ

œ œ œb œ œ&

6 œœœb œ œb œ œ

œœ œ œb œ œcresc.

≈ œœœ œœœb œœœ œœœ ≈ œœœb œœœ œœœ œœœ

œ œ œ œ œ œ œb œ

œœ!œ! œ! œ! œ! œ! œb! œ!

˙̇̇ ˙̇̇bcresc.

≈ œœœb œœœ œœœ œœœ ≈ œœœ œœœ œœœ œœœ

œ œb œ œ œ œ œ œ ?

œ! œb! œ!

œ!

œ! œ! œ! œ!

˙̇˙b ˙̇̇

œœœœœb œb> œ> œ>œœ œœ>

œœb> œœ>

Jœœœbnn œ .œb œ œœ œ

˙̇ @ ˙

œœœœœb œ> œb> œ>œœ

œœb> œœ> œœ>

‰ œ .œ œ œœbbœ

˙̇ @ ˙

&

?

&

?

√

◊

√11 œœœœœb œb> œ> œ>

œœœœ> œœb>

œœ>&

11 ‰ œ .œ œb ..œœ œ ..œœ œ

˙̇ @ ˙

˙˙̇̇b æ ˙̇̇b

∑œœ> œœ

> œœ> œœ>

˙̇ @ ˙

˙˙̇̇b æ ˙̇̇b

∑

œœ> œœ> œ> œ>

˙̇ @ ˙

Poco rall.

Poco rall.

œœœœb œœœœU 5

œœœœ œœ œœ œœ œœ5

œœ œœbb œœ œœ œœœœœb œœbb u

5

œœ œœ œœ œœ œœ5

œœ œœ œœbb œœ œœ?

œœœb>

Œ ÓU

œœ>Œ ÓU

Ï

Ï

rall.


This equivalent of the tumultuous cadenza for the joint forces of piano and orchestra leads to a triumphant return of the third subject, the “Milky Way” theme, in a section marked Andante maestoso, firmly anchored in F major, the tonic major of the Concerto. This section’s orchestration employs all the bells and whistles of a late romantic orchestra whilst the soloist is kept very busy with the richest textural embellishment of the same tune, trying perhaps in vain to gain the upper hand over the orchestra’s hefty textures. The treatment of the material is quite similar here to Addinsell, where the lyrical second subject returns in a climactic return:

Marek Żebrowski

118

&

?

&

?

####

####

####

####

Piano Solo

Orchestra

√ √

√

œ œ œœ œ œ œ

œ œ œ œ œ œ Jœ> œ œ œ œ œ œ œ œ œ œ

œ œ

Jœœœœ

ww

œœœœœœœœ œœœœ œœœœ

œœœœœœœ œœœœ œœœœ &

ƒ

m.d.

m.s.

m.d.

m.s.

m.d.

m.s.

m.d.Allegro maestoso {q = 112}

Pedal with each bar

f

col ped.

ƒcantabile

œ œ œœœ œ œ œ œ

œ œ œ œ œ œ œ œ Jœ> œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ

œœœœ œœœœ œœœœ œœœœ


&

?

&

&

####

####

####

####

√ √

(√)

3

œ œœœ œœœ œ

œœ œ œœœ œ Jœ> œ œœœ œ œœœœœœ œ

œœ


œœœœœœœœ œœœœ œœœœ?

œn œb œnœb œb œb œn œb œb œb œn œœœœ Jœb> œœœœœœœœœœœ œ

œœ

wwwwwnnbbb

wwwwwnnbbb

&

?

&

?

####

####

####

####

√

√

5

œ œ œn œœ œ œ œ œ

œ œ œ œ œ œ œ Jœ> œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ

œœœœngggg

œœœœ œœœœ## œœœœ

œœœgggggœœœœ œœœœ## œœœœ&

ƒ

Example 17: Addinsell, Warsaw Concerto, bars 196–200


119

&

?

&

?

b

b

b

b

c

c

c

c

Piano Solo

Orchestra

....œœœœjœœœœ œœœœ

>œœœœ>

œœœœbn> œœœœ

>

≈ œœœœœœœœœœœœœœœœ œœœœ

≈ œœœ œœœœœœ œœœ œœœ œœœ œœœ ≈ œœ œ

œœ≈ œœn œ

œœn

˙̇ œœ œœbb....œœœœ J

œœ œœœœ œœœ œœœn œœœb

˙̇ œœ œœbb


Andante maestoso

Ï

Ï

˙˙̇˙˙bn ‰ jœœ>

>>œœ>

>>œœ>

>>œœ>

>>œœ>

>>œ œb œ œ œ œ œœ œ œ œ œ œ œ œ

œœœb œ œ œ œb œ œ œ œ œ œ œ œ œ œ œœ

œœ œœnn> œœbb

> œœ> œœ

>

˙̇̇ œœ œœ œœ> œœ

> œœ> œœ

>

˙̇ œ œ œn> œb> œ> œ>

&

?

&

?

b

b

b

b

3....œœœœ

jœœœœ œœœœ> œœœ

> œœœœ> œœœœ

>

≈ œœœœœœœœœœœœœœœœ œœœœ

≈ œœœ œœœ œœœ ≈ œœœ œœœ œœœœœ œœ œœœœœ œœœ œœœ œœœ& ?

3 ....œœœœ Jœœ œœœœ œœ œœœœ œœœ

œœ œœ ˙̇

˙˙˙̇ ≈ œœ> œœnn> œœ> œœ> œœ> œœ> œœ>

œb œ œ œ œœ œb œ

œ œ œb œ œ œ œb œ œ œ œ œ œ œ œœ œ œ œ œ œb œ œ œœ

œœ œœnn>œœbb>œœ>œœ>œœ>œœ>

˙̇̇̇b œœœœ> œ> œn> œ> œ> œ> œ> œ>

˙̇bb œ>œ> œn> œb> œ> œ> œ> œ>


The original “Milky Way” tune was an eight-bar melody. Here, however, Wars extends its length to fifteen bars with the result of achieving a more grounded sense of recapitulation in the home key. A short and sparkling ten-bar coda marked Allegro brilliante swiftly concludes the work with effective piano passages, whilst the orchestra – especially the upper strings – once again return to opening first subject of the Concerto.

Marek Żebrowski

120

&

?

&

?

b

b

b

b

c

c

c

c

Piano Solo

Orchestra

œ> œb>

7

œ œœœ œ œ œ

7

œb œb œœ œb œ œ

œ œ ...œœœ œ œ ...œœœb> œœbb œœ

œœœ Œ œœœbbb> Œ

f

Allegro brillianteK œb> œb>

7

œ œb œœn œb œb œn

7

œ œb œnœb œb œn œb

...œœœbbn> œb œ ...œœœbbb

> œœ œœ

œœœn> Œ œœœ

n>

Œ

œ> œ>

7

œ œ œœn œ œ œn

7

œb œb œbœ œ œb œb

....œœœœ> œ œ ...œœœb> œœbb œœ

œœ>Œ œœbb

> Œ

&

?

&

?

b

b

b

b

4

œb> œb>7œ œb œœb œn œb œ

7

œ œb œnœ œb œb œn

4 ...œœœbbb> œ œ ...œœœnbb >

œœ œœœœœn> Œ œœ>

Œ

∑

œœœn

œœœœ

œœ

Example 19: Wars, Piano Concerto, coda, bars 178–182

Structural Layout

Exposition – Bars 1–70

Introduction: bars 1–4Key: F minorMeter: 4/4 Tempo: MaestosoRemarks: prominent dotted rhythm; harmony based on pedal point on C

First subject: bars 5–18Key: F minor; modulation towards A-flat major (Dominant of D-flat major)


121

Tempo: Allegro con motoRemarks: rhythmic pattern of two 16th notes followed by a dotted quarter note

Transition: bars 19–22Tempo: as aboveRemarks: new material; 2-bar phrase repeated an octave lover; harmony based on the A-flat7 chord that prepares the key for the second subject

Second subject: bars 23–30 (piano); in dialogue with the orchestra 31–36Key: D-flat majorTempo: as aboveRemarks: Dialogue with the orchestra leads to the establishing of F major (bar 37, letter B)

Transition: bars 37–42Key: F majorTempo: as aboveRemarks: an extension of the second subject material that leads to a C major7 chord and a fermata

Cadenza: bar 43Key: C major

Tempo: no markingRemarks: notated without bar lines; solo piano passagework prepares the entry of the next subject

Third subject: bars 44–51 (solo piano), bars 52–59 (solo orchestra)Key: F major

Tempo: AndanteRemarks: melody taken from Henryk Wars’s song, Po mlecznej drodze [Along the Milky Way]. After orchestral culmination of this subject in F major (bars 55–58), a quick modulation to A minor (bar 59)

Third subject variation: bars 60–63Key: A minorTempo: as aboveRemarks: piano figuration accompanies the cello line that is a variation of the third subject

Marek Żebrowski

122

Transition: bars 64–70Key: modulations towards E majorTempo: CalmoRemarks: largely a solo piano passage with minimal accompaniment; main melodic feature taken from the first bar of the third subject

DEvElopmEnt – Bars 71–162

Introduction: bars 71–85Key: A minor with pedal point on EMeter: 3/4 (reverts to 4/4 at bar 82)Tempo: DolorosoRemarks: Basically a chordal solo piano soliloquy with the lower strin-gs holding a pedal point E

Development proper: bars 86–162Section 1, bars 86–93:Key: Beginning on E dominant7, changing keys throughout; see de-scriptions of developed material belowMeter: 4/4Tempo: Allegro con motoRemarks: new material that modulates and leads to a culmination and a fermata in bar 93 on the G dominant7 harmony

Section 2: bars 94–109:Key: C minorTempo: as aboveRemarks: development of the first subject with the melodic material given to the piano (bars 94–101) and then to the orchestra (bars 102–109)

Section 3: bars 110–117:Key: D-flat major, moving to F minor in bar 114Tempo: as aboveRemarks: development of the subject from the introduction; the first variation (4 bars) is in D-flat major, the second variation is in F minor


123

Section 4: bars 118–129:Key: modulations from C minor trough a variety of keys (E-flat major, G minor, C minor, F minor to B-flat major7)Remarks: extended orchestral tutti uses a melodic figure that first appe-ared as accompaniment to the second subject in the exposition

Section 5: bars 130–148:Key: D major (sustained by pedal point A)Tempo: Meno mossoRemarks: piano re-enters with a variation of the second subject from the exposition. Dialogue with the orchestra commences in bar 138. Material is treated similarly to the exposition sequence in bars 37–42

Section 6: bars 149–162:Key: C major (with a G pedal point)Tempo: as aboveRemarks: solo piano features first subject from the exposition (bars 149–152) with the remaining portion of this section building up joint-ly with the orchestra to the biggest climax of the piece at the fermata in bar 162

rEcapitulation – Bars 163–187

Third subject: bars 163–177Key: F majorTempo: Andante maestosoRemarks: this is the apotheosis of the “Milky Way” theme with a thick chordal embellishment of the melody and full orchestral accompani-ment. In comparison with its original appearance in the exposition, the theme is extended (see bars 171–177)

Coda: bars 178–187Key: F majorTempo: Allegro brillianteRemarks: piano passagework embellishes the first subject from the exposition in upper strings (bars 178–181) and the remaining measures provide an effective close.

Marek Żebrowski

124

Conclusions

Completed in 1950, Wars’s one-movement Piano Concerto is an excellent addition to the repertoire of shorter works for piano and orchestra. Written idiomatically for the pianist, it is also richly scored for a large late romantic orchestra. Whilst it offers some technical challenges for the performers, it is also a very effective work that easily finds favor with the audiences.

The formal layout of the Concerto is quite successful, with proportional scaling of various formal components that gracefully add to a satisfying final outcome. A well-designed exposition with a short introduction and quick pre-sentation of the first two subjects gives way to a brief cadenza – actually more of a “lead-in” passage – and the introduction of the Concerto’s chief highlight – it’s lyrical third subject. Based on one of Wars’s most famous songs, the in-clusion of this material may have inspired Wars to consider giving his work the title of “Milky Way” or “Starlight” Concerto, as evidenced in various sketches for the work held in the Henryk Wars Collection at the Polish Music Center, USC, in Los Angeles. The solo piano intonation of this tune is taken up by the orchestra and nicely rounded up in an extended buildup.

Just as in Schumann’s Op. 54, the development begins with a plaintive pia-no solo with a minimal orchestral accompaniment and, again just as in the first movement of Schumann’s Piano Concerto, it features a sudden tempo change to “tempo primo” at the beginning of the development proper.

Echoing Chopin’s treatment of the sonata form, where the recapitulation returns with the second subject (as in the first movement of the F minor Piano Concerto or the B minor Sonata, for example), Wars uses only the first two subjects from the exposition in the recapitulation, saving the biggest climax of his Concerto for the triumphant return of the third, “Milky Way,” subject in a sweepingly romantic, fully orchestrated apotheosis marked Andante maestoso. The Allegro brillante coda – where the orchestra touches on the first subject that is ornamented by the soloist’s passagework – succinctly summarizes this short and thoroughly romantic work.

The genesis and the emotional context of this composition are closely connected to Wars’s wartime odyssey from Warsaw to Lwów/Lviv, through Russia, Persia, Iraq, Palestine and Italy, to his final settling in America. The composer’s role as music director of the Polish Parade ensemble attached to General Anders’s Army also played a role in the origin of this Concerto. Just


125

as Wars decided to incorporate one of his great tunes, “Po mlecznej drodze” (as sung during the war years by Rena Anders, the general’s wife, and the leading soloist in the Polish Parade musical ensemble), he must have also been aware of Richard Addinsell’s music for the 1941 British film, Dangerous Moonlight. This film was, after all, a World War II drama about a Polish concert pianist who gives up performing to become a pilot in a Polish squadron attached to the Royal Air Force, and Addinsell’s lushly romantic and passionately tender score is an important component of this now forgotten film. The plot of Dangerous Moonlight is also quite similar to the 1946 film La Grande strada, where Rena Anders plays a nurse, tenderly caring for a Polish soldier gravely wounded in the battlefield. The film’s – and Rena Anders’s – signature song, “Along the Milky Way” woven into the score by Henryk Wars accompanies practically the entire picture.

The original version of Wars’s Piano Concerto was first performed at the Hollywood Bowl in the late 1950s by pianist and composer Harry Sukman (1912–1984), who was also Wars’s friend and student. This version of the Concerto was brought by Wars to Poland in 1967 and, together with his or-chestral suite, City Sketches, was performed and recorded at the Polish Radio studio in Warsaw. After returning to Los Angeles, Wars introduced several changes to the orchestration and form, adding new material to the Andante maestoso section and rewriting the closing section of the work. Along with his other orchestral compositions, the final version of the Concerto was di-scovered by the composer’s widow, Elizabeth Wars, in the late 1990s. To-gether with Henryk Wars’s other orchestral works – Maalot, City Sketches and Symphony No. 1 – the Concerto was world-premiered in June 2005 by the Łódź Philharmonic Orchestra led by Krzesimir Dębski. Along with all other orchestral compositions and sketches, the manuscript score of the Piano Con-certo has been donated by Elizabeth Wars to the Polish Music Center at the University of Southern California. It is now part of the Henryk Wars Col-lection and has been used for several performances and a CD recording of the Concerto since its 2005 world premiere. The outwardly romantic tone of this work – paying homage to harmonies favored by Tchaikovsky and Rachmani-nov and the successful melding of the late romantic and jazz chordal structu-res – especially in the “Milky Way” subject and the Doloroso section that was inspired by Gershwin – makes this Concerto a very attractive addition to the concert repertoire. Whether coupled in performance with other works from

Marek Żebrowski

126

the Koncertstück genre or presented sui generis, it is hoped that this recently discovered masterpiece will find a growing circle of performers and prove attractive to audiences all across the globe.

Sources

Addinsell, Richard, Warsaw Concerto (London: Chappell & Co., Inc.)Friskin, James and Freundlich, Irvin, Music for the Piano (New York: Dover Publications, Inc.

1973)Gershwin, George. Rhapsody in Blue (solo piano version)Layton, Robert, Ed., A Companion to the Concerto (London: Christopher Helm, 1988)Parakilas, James, Piano Roles – Three Hundred Years of Life with the Piano (New Haven and Lon-

don: Yale University Press, 1999)Rachmaninov, Sergey, Concerto for Piano and Orchestra, Op. 1 (revised version)Schumann, Robert, Concerto for Piano and Orchestra, Op. 54Wars, Elizabeth, Recorded unpublished interviews with the author (2000–2005)

Summary

Henryk Wars has been long known for many film soundtracks and countless hit songs compo-sed in Poland during the inter-war period and in the United States in the 1950s and the 1960s. But he was also a classically trained composer who left a substantial legacy of finely crafted, large-scale orchestral works. They were written soon after he settled in California in 1947, and quite a few years before he had a chance to redefine himself as a film composer in Hollywood. During his early years in America Wars devoted most of his passion and energy to completing among others such large scale works as Symphony No. 1 (1948–1949), Piano Concerto (1950), City Sketches – Orchestral Suite (1951/1969–1974), and Sonatina for Orchestra.

Aim of this study is to present Wars’s Piano Concerto – a skillfully designed one-move-ment work completed in 1950, with a strongly neo-romantic character, sparkling virtuoso solo part, and richly-scored orchestral accompaniment.

The author of the study analyzes in detail the formal layout of the work, indicates the composer’s inspirations (mostly Schumann and Addinsell, also Chopin, Gershwin and Rach-maninov) and shows that using the traditional sonata allegro layout, Wars effectively introduces several very attractive melodic ideas and skillfully shapes them in into a successful one-mo-vement formal design. Wars’s one-movement Piano Concerto is an excellent addition to the repertoire of shorter works for piano and orchestra. Whilst it offers some technical challenges for the performers, it is also a very effective work that easily finds favor with the audiences.

Keywords: piano concerto form, Richard Addinsell, Henryk Wars

Documents

Concerto for Piano and Orchestra by Henryk Wars