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María Rodrigo Bellido. María Rodrigo (20 March 1888 – 8 December 1967) was a Spanish pianist and composer. [1] She was the daughter of Pantaléon Rodrigo, and studied music at the Madrid Conservatorium under José Tragó for piano, Valentín Arín for harmony and Emilio Serrano for composition. [2]
Cristina Ortiz, piano; Royal Philharmonic Orchestra, conducted by Miguel Ángel Gómez Martínez. Recorded at the Walthamstow Assembly Hall in October 1989, January and July 1990. 2-CD set: stereo. London 430 628-2 (430 629-2 and 430 630–2). London: The Decca Record Company Limited, 1992. Heitor Villa-Lobos: Cinco Conciertos para Piano y ...
Image by Marie Therese de Belder. Ricardo Llorca (born 1958, Alicante) is a Spanish-American Composer based in New York City since 1988. Llorca is a Juilliard School graduate and a faculty member of "The Juilliard School of Music Evening Division" since 1995.
Hélène de Montgeroult (1764–1836) ... Notable piano works Remarks Nicanor Abelardo: 1893: ... Gran concierto en Re Mayor para piano y orquesta; Late-Romantic ...
Cristina Ortiz, piano; Royal Philharmonic Orchestra, conducted by Miguel Ángel Gómez Martínez. Recorded at the Walthamstow Assembly Hall in October 1989, January and July 1990. 2-CD set: stereo. London 430 628-2 (430 629-2 and 430 630-2). London: The Decca Record Company Limited, 1992. Heitor Villa-Lobos: Cinco Conciertos para Piano y Orquesta.
While Schnittke's earlier piano concerto from 1960 and a later one for piano four-hands from 1988 adhere to the traditional concerto structure in different contrasting movements, [10] the composer wrote this concerto as a continuous single movement, [10] [6] with sections marked Moderato · Andante · Maestoso · Allegro · Tempo di valse · Moderato · Maestoso · Moderato · Tempo primo.
The piece is scored for solo piano, accompanied by string orchestra. Several recordings of the concerto have been made. The concerto is in three movements, the middle being the longest. An analysis by musicologist student Wilhelm Delport in 2015 rediscovered that the first and third movements borrow heavily from a Tyrolean Volkslied named ...
Reviewing a 2016 performance by the pianist Sergio Tiempo and the Los Angeles Philharmonic, Mark Swed of the Los Angeles Times called the concerto "a work of brutalist, magical realism" and wrote, "There are atmospheric and percussive moments when the score sounds slightly too much like Argentine Bartók, but there are also unusual evocations of eerie rain-forest weirdness and great thundering ...