Program notes for the LOOP concert on April 10, 2008, featuring the works of Ryan Francis, Maurice Ravel, Esa-Pekka Salonen, and Erik Satie (arranged by David Bruce). This concerto feels like an arrival point for me artistically that has been in the works for the past four years. I’ve been exploring a lot of seemingly (to me, at least) disparate musical concepts, but this concerto is the crucible in which I’m forging them all together. On the one hand, I’ve written a good deal of music that deals more with textural as opposed to ‘metric’ rhythms, and I also have a parallel string of pieces that are concerned with electronic influence on acoustic music, which are much more metrically complex, while retaining more harmonic clarity. My interest in electronics has influence the concerto on both an aural level and a process level. While the concerto’s orchestration is often designed to create 'electronic’ timbres, I also decided to forego my traditional paper-and-pencil-exclusively method of composing, in favor of working with MIDI maps. This new method of working allowed me to explore and develop textures that I probably would have never discovered were I simply working with my hands on a keyboard, and this influenced the soloist’s part in particular. I would write with grids, unconcerned with playability, and would then transcribe them into mensural notation and revise and revise until they were completely idiomatic. The result has been that the piano writing is often utterly different than my previous work, which was my goal. Each of the movements were developed out of piano etudes that I have been writing for the past year, and the form of each movement reflects the same sort of obsessive quality of an etude, although I allowed myself to be a little more expansive as well; this is a concerto, after all!
The first movement could almost be a chorale, were it not for the sharp syncopated disjunctive melodic contours that cut through the texture.
The second movement is a sort of musical Jacob’s Ladder, constantly rising musical gestures that are also continuously falling.
The third movement is more about color than the others, and less rhythmically driving as well, although there is a gentle repeated note pulse that runs through much of the movement.
The final movement is comprised of two basic layers: a light, distant textural one, and a foreground built on constantly evolving loops of material.