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Klami
Une nuit a Montmartre - Concerto op 8 (pf,orch)(score)
Price: 26,90
€
In stock
Uuno Klamin pianokonsertolla Une nuit à Montmartre on erityinen asemansa suomalaisen taidemusiikin ns. 1920-luvun modernismin piirissä. Jazz-vaikutteistaan huolimatta Klamin ensimmäinen pianokonsertto on kirjoitettu perinteiselle sinfoniaorkesterille. Klassis-romanttisesta konserttotyypistä periytyvä kolmiosaisuus on attacca-siirtymin hämärretty. Ensimmäinen osa on vakava, suorastaan ylevä, jossa jazziin viittaa saksofonien käyttö aikanaan skandaali sibeliaanista ruususenunta nukkuvassa Suomessa. Dekantentin tunnelmakuvan vastapainona toimii viimeisen osan, Ronden, suoraviivainen antiromantiikka. Soolo-osuuden ragtime-vaikutteiset synkoopit ja Prokofjevilta tuttu martellato-tyyli saavat vastavoimakseen orkestraalisen ilotulituksen, jossa Klami ensimmäistä kertaa näyttää orkesterivirtuoosin kykyjään.
Uuni Klami's piano concerto Une nuit à Montmartre occupies a special place in what is known as the 1920s Modernism in Finnish art music. Despite its jazz influences, it is scored for a traditional symphony orchestra. The three-movement structure derived from the Classical-Romantic concerto tradition is blurred through the use of attacca transitions. The first movement is a serious opening with aspirations towards nobility. The use of solo saxophones are obvious allusion to jazz and a cause for scandal in the solemnly Sibelian musical landscape that was Finland in the 1920s. The decadent mood is contrasted by the straightforward anti-Romanticism of the last movement, Ronde. The ragtime-like piano rhythms and a dry martellato style recalling Prokofiev are set against a burst of orchestra pyrotechnics where Klami for the first time shows his chops as an orchestrator.
Uuni Klami's piano concerto Une nuit à Montmartre occupies a special place in what is known as the 1920s Modernism in Finnish art music. Despite its jazz influences, it is scored for a traditional symphony orchestra. The three-movement structure derived from the Classical-Romantic concerto tradition is blurred through the use of attacca transitions. The first movement is a serious opening with aspirations towards nobility. The use of solo saxophones are obvious allusion to jazz and a cause for scandal in the solemnly Sibelian musical landscape that was Finland in the 1920s. The decadent mood is contrasted by the straightforward anti-Romanticism of the last movement, Ronde. The ragtime-like piano rhythms and a dry martellato style recalling Prokofiev are set against a burst of orchestra pyrotechnics where Klami for the first time shows his chops as an orchestrator.