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Philip Glass

Publisher: Chester Music

Piano Concerto No. 2 (after Lewis and Clark) (2004)
Commissioned by the Nebraska Lewis and Clark Bicentennial Commission, Board of Regents of the University of Nebraska, and the Lied Center for Performing Arts.
Publisher
Dunvagen Music Publishers Inc
Category
Soloist(s) and Orchestra
Year Composed
2004
Duration
34 Minutes
Solo Instrument(s)
piano
Orchestration
Programme Note
Philip Glass Piano Concerto No. 2 (after Lewis and Clark) (2004)
Preview the score:


  • Ensemble
    Northwest Chamber Orchestra
    Soloist(s)
    Paul Barnes (piano), R.Carlos Nakai (Native American Flute), Jillon Stoppels Dupree (harpsichord)
    Conductor
    Ralf Gothoni
    Orange Mountain Music:
Performances
Date
Title
Reviews
The thrill of discovery. The heroism of a Shoshone woman. The greatness of a rich land and its native peoples. These elements of the Lewis and Clark journey were captured in the form of a piano concerto by Philip Glass. Titled AFTER LEWIS AND CLARK, the new concerto, which is divided into three movements, features many elements that have defined the Glassian sound, repetition, irregular meters and minimalism. The first movement, titled “The Vision,” conveys the determination of the explorers as they embarked on the journey. Irregular meters are at the heart of this movement and comprise the core of its driving intensity. The slower second movement, “Sacagawea,” based on the Shoshone Indian who became Lewis and Clark’s companion, has arguably the most mesmerizing musical themes of the piece. The slow, brooding duet between the American Indian flute and the piano features a traditional Shoshone musical theme as well as a middle section that is quicker and delightfully disjointed. “The Land” explored by Lewis and Clark is the theme of the final movement. The intensely busy movement incorporates a canon that features the overlapping of a theme and six variations. Thistechnique not only gives the movement a number of layers and voices, but lays the ground for an interesting dynamic between the piano and the orchestra. The piece develops into a fury of sound at the end that leads to an exhilarating climax, revealing to the listener that the land has finally been conquered.
Ashley Hassebroek, Omaha World-Herald Bureau,9/19/2004
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