In 2004, he met the legendary pianist Menahem Pressler at the Orford Arts Centre and the chemistry between them was immediate. The great pianists of the past such as Cortot, Horowitz, Rachmaninoff and Friedman are for him a strong source of inspiration. Maxim fell in love with the romantic style of interpretation. His development has been phenomenal by age 18 he was invited to perform Beethoven’s magnificent Fourth Piano Concerto with the Edmonton Symphony Orchestra!Īfter completing his studies at the Québec Conservatory of Music with the pianist Suzanne Beaubien, his driving passion led him to further them with one of his idols, the pianist André Laplante at the Glenn Gould School of the Royal Conservatory of Music in Toronto, where he received his Artist Diploma. Some start their piano studies at the age of three, but for Maxim Bernard it began at 13 when he discovered his passion. Listeners may detect some similarities in the orchestration of this piece to Scheherezade, which was also composed by Rimsky-Korsakov one year later, in 1888. The final section, Fandango, is similar to the Alborada, but is based on a different Asturian melody originally for piano and drum it also calls for a bagpipe effect. After a reprise of the Alborada, the fourth section is based on an Andalusian gypsy song, but set in the major key rather than its original minor.
The second section is a set of variations on a Danza Prima (Evening Dance), re-invented by Rimsky’s warm scoring of a horn quartet. Some transcriptions are marked “ gaita” to indicate that a bagpipe effect is intended. The first section, the Alborada, is based on music originally played by shepherds on wind and percussion instruments, in praise of the rising sun. The themes are based on a collection of Spanish songs and dances in Rimsky’s possession. As such, it brings out various instrumental timbres, exhibits a variety of figures and rhythms, and includes several virtuoso cadenzas for several solo instruments (violin, flute, clarinet, and harp). According to the composer, it is not so much a well-orchestrated piece, but a composition for orchestra. Petersburg, with Rimsky conducting, was an immediate success. The first performance of Capriccio in St. He also had substantial responsibilities as assistant musical director of the Imperial Chapel. During the early 1880’s he had been preoccupied with the massive task of putting his friend Mussorgsky’s works in order (after his death in 1881), including several re-orchestrations. The composition of Capriccio Espagnol in 1887 marked the end of a relatively unproductive period in Rimsky-Korsakov’s career. I: Alborada II: Variazioni III: Alborada IV: Scena e canto gitano V: Fandango asturiano Nicolai Rimsky-Korsakov (1844-1908 ): Capriccio Espagnol The last movement involves an unusual duet for piano and timpani in the coda, near its conclusion. After the last of the variations, the bassoons hold a pedal note and then we subside by a semi-tone without pause into the energetic finale. The second movement resembles a slow nocturne, with variations, although the soloist does not himself quote the main theme. Unusually this concerto has no cadenza, unless we count several elaborate statements made by the soloist during the first movement, but everything is explicitly written out by Beethoven in the solo part, with no flexibility allowed. Indeed, the original score is marked “Do not play a cadenza….”! However, the first solo section does introduce the themes that form the material of the entire first movement. It is said that Beethoven has been called an emperor among composers, possibly apocryphally, by various sources. 3 was originally dedicated to the self-declared emperor, Napoleon). (In fact, Beethoven’s Eroica Symphony No. It definitely does not refer to the invading Napoleon, who had entered Vienna during the concerto’s composition. The reason for the Emperor title is somewhat unclear. The musical score was sold to publishers, and it was eventually first performed two years later. This may have been because of war conditions in Vienna, or because Beethoven had become too deaf. Written in 1809, this was the last concerto of any kind by Beethoven, and it is the only piano concerto for which Beethoven did not play the first performance himself. I: Allegro II: Adagio un poco mosso III: Rondo allegro Ludwig van Beethoven (1770-1827): Piano Concerto No 5 in E-flat (the Emperor), Op. Celebrating the Genius of Leonard Bernstein 100.
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