Camilo: Concerto for Piano and Orchestra No. 1
Michel Camilo
B. April 4, 1954 in Santo Domingo, Dominican Republic
Michel Camilo, having received extensive musical training in both his native country and the United States, has distinguished himself in both Jazz and Classical music, as a composer and as a performer.
About his Piano Concerto, a commissioned work premiered in June 1998 by the National Symphony Orchestra (NSO) and Leonard Slatkin at the Kennedy Center for the Performing Arts in Washington, D.C., Mr. Camilo provides the following note:
“My purpose is to write music of today, music that reflects the passion of change and the energy of our times. This work combines elements of all three of my musical worlds: jazz, classical and Afro-Caribbean. It is inspired by some of the mystery, folklore, rhythms and mythology of the African culture in the Americas, but at the same time I wanted to give these elements a fresh character by incorporating jazz harmonies and an extended classical form, and by trying to translate some of the rhythmic patterns into melodic textures, by using the piano as well as the different sections of the orchestra as percussion instruments.
The first movement is a ‘musical journey’ through various Afro-Caribbean and jazz landscapes. These are reflected in the constantly changing textures, alternating, reflecting moods with high energy and polyrhythmic ideas which demand precise ensemble work from both soloist and orchestra. This movement was inspired by my early years in the Dominican Republic.
The second movement is a slow-moving but intense romantic ballad full of wonderful memories, with a singing piano line, sustained textures and expressive lyrical improvisational passages. The mood represents a turning point in my life as I left the country where I was born to come to the U.S.
The final movement is full of energy and vitality, combining modern contemporary influences with a jazz motif. The mood reaches a climax as these two concepts encounter each other in various musical settings. This movement is divided into two parts which are clearly divided by the appearance of an unexpected timpani solo performing the chromatic inversion of the first theme. The driving and restless intensity of this movement represents my encounter with the place where I came to live and to study: New York.” Leonard Slatkin provides the following note about the piece:
“The concerto is in the classic three-movement form. The first movement is something along the line of a free-form fantasy. Michel gave the orchestra plenty to do here as well. I think you can hear so much of his background in this movement: the Latin connection, his classical training and his deep personal convictions about life. The second movement is a ballad with two short improvised cadenzas. The finale is a virtuoso romp for everyone. When this movement is over we usually have to call the fire department to quell the smoke coming off the keyboard.”
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