Useful guidance notes for conductor Grieg s Piano Concerto (Op.16) with brass band accompaniment (www.musica-orichalcinus.eu) There is no intent to tell you, the conductor, or the soloist how to perform this work. This short set of guidance notes are only in support of the brass band transcription of Grieg s Piano Concerto. The notes are in no particular order or importance. 1) The tempos marked in the score are general guidance. Performance tempi are to be agreed between soloist and conductor. Ideally, the conductor and soloist should meet beforehand to make such agreements and rehearse prior to working with the full band. 2) The rehearsal marks in the band score may not necessarily align with those known by the soloist, ie. result of various printed editions over the years. Agree these beforehand with soloist. It is suggested to use bar numbers in band score and align these to recognised rehearsal points familiar to the soloist. 3) G.P bar appears at end of 1 st movement in the band score. It is the soloist s call as to whether there is a gap (or continuous play) between movements. 4) The piano part in the band score is not complete and does not contain every note that the piano plays. In particular, cadenza no.1 in the first movement, which is a long cadenza, only picks out certain bars along way. However, the full cadenza is included with these notes for reference. 5) Dynamics marked in individual parts are always well-below that of the soloist, however, each player must always sound confident, eg. no insipid sounds. Further, the band scoring is intentionally, except in tutti passages, chamber-like (small groups), so players should adjust their normal dynamics accordingly upwards or fuller. 6) The middle movement (II) is deliberately scored using mellow voices (horns, baritones, euphoniums, and basses). The intent is to generate luscious sounds, warm, and meaty. The trombone soloist should lead and be predominant over this block of sound. All edges are to be removed and everyone to play in a silky smooth manner. The dynamics in the opening and concluding chorales have been adjusted in this transcription, so follow the band score markings as these are what is intended and do not revert to original score dynamics. 7) Throughout most of the band score the original markings of fp have been replaced with parts marked p and others providing the dynamic effect. This was done to avoid over percussive brass accompaniment to the piano, ie. original was a string section. 8) The seating arrangement for the piano and band needs to be agreed with the performance venue limitations in-mind. When considering this it should be recognised that the cornet section is the least used when accompanying the soloist. 9) Cues have been placed into each individual part to aid rested bars (counting) and cover for band solo voices where these are a key feature of the work. The cues do not feature in score, but players should be made aware that cued (small) notes exist in their parts for a reason. 10) In bar 722 (andante maestoso) the euphonium may play this whole section an octave lower, however, both players must do this and the whole section must be taken down and not just the odd high note. 11) If metal mutes are not available then fibre may be used, however, cups are essential. Muted dynamics are marked as heard by the listener, ie. player to blow louder than marked.
12) The BBb s part asks them not to pedal unless specifically marked. This is to prevent muddying of the overall sound and drawing the listener s ear away from the soloist. Where pedal notes are marked then these may be deemed optional, eg. both players may play upper octave if so desired. 13) The timpani is essential with all other percussion deemed optional. However, the triangle has been scored to add lightness to the brass in certain places. The suspended cymbal shall always be played with very soft beaters, especially in the quieter passages (marked shimmer ). 14) There is a percussion score which has all percussion parts. However, individual timpani has been generated too. 15) Finally, if you spot any errors in the band score could you let me know so that I may up-date the original electronic file (email: geoff_colmer@hotmail.com). Also, if you could let me know how the performance went, too. Thanks.
Cadenza no.1 (in full) Starts at bar 175 in band score
Final 3 bars of cadenza (above) are shown in band score.