Piano Concerto - Sheet Music for Partitur Carson P. Cooman

This is the score only.

Instrumentation
Solo Piano
Violin I
Violin II
Viola
Cello
Contrabass
(minimum string size of 1-1-1-1-1)

Piano Concerto (2005) for solo piano and strings was commissioned by Nathaniel Blume andSymphonic Underground. The work was written in celebration of the Mozart Year 2006.Unlike most recent piano concerti, this work is a concerto designed for small performingforces. It sits between typical chamber music and the "typical" piano concerto.The work was inspired by the various Mozart concerti (such as K. 449) which are oftenperformed with very small string sections. Thus, this concerto may be performed with as fewas single strings on each part, or a larger full string orchestraThe work is cast in one movement, containing two large sections (sub-movements).Structurally, the piece is a highly condensed version of Classical period symphonic form.The first section of the work is an exposition-development/"sonata allegro" combined with aslow movement. The second section is a combination of a triple-meter scherzo and a rondofinale.The musical material throughout derives tonally from the three notes of a D-major triad (D,F#, and A). Those three pitches serve as transformation centers for the work's material andalso plot the tonal areas of each section. The musical material of the work thus ranges fromhighly Classical melodies (although all original) and textures to more Romantic andmodernist elements that transform out of the initial material.

PERFORMANCE NOTES
Accidentals carry through the measure, in the given octave only. Courtesy
accidentals have been added at various places as an aid.
All tremolandi / trills are even and "as fast as possible" --
regardless of the tempo of the music.

"Oracle rods" are small hand-held metal resonators made of a manganese alloy
that produce a high-pitched sparkling, ringing sound when struck. To play
them, grasp the handle and strike the resonating end with the hand. While it is
resonating, move the handle hand to create further vibrations.
In the sections in this work where they are to be played, the players should
strike the rods at random -- not synchronizing with each other in any way.
In situations where oracle rods are not available, any high-pitched bell-like
metal objects can be used. They need not be uniform throughout the ensemble.