Concerto for Ivana
Publisher: Edition Sviter
Strings: Violin 1/2 & Viola & Cello & Double Bass
Woodwinds: Flute 1/2 (2nd Doubling Piccolo) & Oboe 1/2 & Clarinet 1/2 (2nd Doubling Bass Clarinet) & Bassoon 1/2
Brass: French Horn 1/2/3/4 & Trumpet 1/2 & Trombone
Percussion: Player 1: Timpani Player 2: Glockenspiel & Tubular Bells & 4 Timpani & Slapstick & Suspended Cymbals(High & Medium & Low) & Sizzle Cymbal & Temple Blocks & 3 Bongos & shaker & Tam-tam & Maracas & 2 Concert Tom-toms & Bass Drum & Castanet & Triangle & Claves & Darabuka
Player 3: Vibraphone & Tubular Bells & 2 Egg Shaker & Suspended Cymbals(High & Medium & Low) & Sizzle Cymbal & Bamboo Wind Chimes & opera gong & Glass Wind Chimes & Bass Drum & Castanet & Slapstick
Keyboard: Piano (Doubling Celesta)
Movement 1: Con motto
Movement 2: Lento
Movement 3: Allegro
Composing a solo concerto for a modern instrument can hardly be done without observing the historic practice in pieces written for „elite“ concert instruments /piano, violin, cello.../
For me it was also important to consider the origins of the instrument. They can be found outside the European traditions - in the polyphonic rhythms of the gamelan orchestra, in the multiple patterns of the Latin styles and the global influence of jazz and pop music...
I was equally eager to avoid scholastic debates about the presumably exploited traditional music vocabulary. The 9 chord with impressionist flavor, polyrhythms, steady pulse, reiteration of short musical phrases and other musical phenomena, which are too easily connected with certain composers, when put in different positions and relations could once again become „virgin“ material, ready and open for re-form and re-newal. CONCERTO FOR IVANA follows the usual three movements structure (fast-slow-faster) but in only one flow. The basic musical ideas are already present at the very beginning of the piece.