![]() ![]() But in the end, the soloist and the orchestra make peace, and continue playing happily together. During the movement, there is quite a lot of argument between the soloist and the orchestra. The third movement is a set of variations on a theme which I heard in the middle of the night when I was eight years old. The movement is in a rather unusual key, B-flat minor, which is perhaps not so comfortable for the orchestra, but it’s the key in which I first heard the melody in my head, and I did not want to change it. I’m very happy for other people to write whatever music they like or find beautiful, she says. Its not anti-intellectual to think this way, then to see Alma Deutscher writing music that roughly satisfies our appetites, and latch on to it as the beacon of hope in a decrepit world of unintelligible new music. I wouldn’t want to write music I don’t enjoy. ![]() I just want to write music I myself enjoy. The main theme of the second movement came to me when I was very sad, I was improvising on my grandmother’s piano a few days after she died. Here are some quotes from her when asked about it recently in an interview in the WSJ: I think it’s quite simple. Her parents (an Israeli-born linguist father. Alma Deutscher was born in February 2005 in Basingstoke, Hampshire, England. Deutscher composed a piano sonata at age six and a short opera at seven. The darkness tries to come back at some points, especially at the very end, but the light finally overcomes it. A true child prodigy, Alma Deutscher has been dubbed Englands 'Little Mozart,' although both she and her family reject the term. Unpopular opinion: Alma Deutscher represents something much more profound than just 'anti-intellectualism'. The rest of the introduction is in minor, but the entrance of the piano brings back the light, with a much happier version of the orchestral theme. The orchestral introduction has just two happy bars of E-flat major in the beginning, but it then plunges into darkness on the third bar. The first movement represents the conflict between darkness and light. And how, just before the final chord, she charmingly dissolves the harmonic knot which had been tied with a harmonic Coup in the first bars of the concerto-that mesmerizes. Alma Deutscher’s music is full of extraordinarily original ideas and genuine surprises … Even just the transition from the cadenza to the coda of the first movement reveals the composer’s originality. Leading Austrian critic Wilhelm Sinkovicz wrote about the concerto: “The world turns in a circle, but always sprouts new, beautiful flowers, if one only lets them sprout. This was the world premiere of Alma Deutscher’s piano concerto in July 2017 at the Carinthian Summer Festival, with Vienna Chamber Orchestra, conductor: Joji Hattori.
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