Located in the UK
Located in the USA
Located in Europe
- Morton Gould
Inventions (1953)
- G Schirmer Inc (World)
- 2+pic.2+ca.2+bcl.2+cbn/4331/timp.3perc
- Four Pianos
- 17 min
Programme Note
At the suggestion of Dimitri Mitropoulos, I have composed a work for four pianos and orchestra…the use of four pianos and orchestra posed some special problems. There is very little precedent in the musical literature for this kind of ensemble, so in a sense I had to evolve my own textures and patterns. Along with the basic objective of creating a musical communication, I tried to use the many resources and facets of the pianistic musical entity, and at the same time related to the other pianos and to the orchestral texture. There is very little "doubling.” For these reasons, I have used the over-a; title of "Inventions” – suggested by Mr. Mitropoulos.
The titles of the individual inventions are really self-explanatory.
"Warm-Up” is in a concerto grosso style. The character of the movement is lusty and extroverted, the pianos and orchestra showing off and "warming-up” as the title implies. The themes are abstractions – with a few allusions – of patterns of musical technique.
"Ballad” makes use of the lyrical and resonant palette of the piano. I make use of the middle pedal a great deal, and of its resultant overtones and overhanging resonances. The rondo form is also used here, and certain passages simulate guitars.
"Schottische” is a stylization of this popular dance form. It is meant as an appealing, relaxed movement in a mood of nostalgia and fun.
"Toccata” is an application of this tradition and of this classical pianistic idiom to the "hoedown” or "square dance” vernacular/ the pianos take turns in being the "caller,” and the whole movement goes at a very fast, rushing tempo - with the orchestra and pianos spinning in and out of each other’s patterns – culminating in a headlong rush to the end.
I do not use strings in the orchestra, for reason of sound textures and for economy of stage space.
--Morton Gould
The titles of the individual inventions are really self-explanatory.
"Warm-Up” is in a concerto grosso style. The character of the movement is lusty and extroverted, the pianos and orchestra showing off and "warming-up” as the title implies. The themes are abstractions – with a few allusions – of patterns of musical technique.
"Ballad” makes use of the lyrical and resonant palette of the piano. I make use of the middle pedal a great deal, and of its resultant overtones and overhanging resonances. The rondo form is also used here, and certain passages simulate guitars.
"Schottische” is a stylization of this popular dance form. It is meant as an appealing, relaxed movement in a mood of nostalgia and fun.
"Toccata” is an application of this tradition and of this classical pianistic idiom to the "hoedown” or "square dance” vernacular/ the pianos take turns in being the "caller,” and the whole movement goes at a very fast, rushing tempo - with the orchestra and pianos spinning in and out of each other’s patterns – culminating in a headlong rush to the end.
I do not use strings in the orchestra, for reason of sound textures and for economy of stage space.
--Morton Gould