Friday, October 4, 2013
John Musto concertos benefit from composer's performances
John Musto, piano
Odense Symphony Orchestra; Scott Yoo, conductor (Concerto No. 1)
Greeley Philharmonic Orchestra; Glen Cortese, conductor (Concerto No. 2)
John Musto performs his piano concertos with telling effect. While these works are technically challenging, I don't hear keyboard prowess being the purpose of these works. Rather, the focus seems to be on the beauty and integrity of the musical expression. Which is what makes this recording work so well. Musto has the ability to play with precision and authority -- which he does -- but it's his phrasing and articulation that gets to the heart of these works.
Musto's first piano concerto (composed in 1988) opens with a solo clarinet that sets the tone for the work. It begins with a lyrical atonality that gradually builds in intensity. While this is a big composition, there are places that are surprisingly intimate. As the work progresses, the aggressive dissonances begin to soften. The second movement introduces a touch of ragtime, leading into a bustling and satisfying final movement.
The Piano Concerto No. 2, written 18 years after the first, shows how much the composer's skill has developed. The orchestration is more varied, and more adventurous. While the first concerto flirted the vocabulary of popular music, this one fully incorporated it, in the way that Gershwin's "Rhapsody in Blue" encapsulated jazz. Unlike Gershwin's Rhapsody, Musto's concerto is more fully realized, and highly structured.
That's not to say the second concerto's a stuffy academic exercise. The music flows seamlessly from start to finish in an inviting fashion. It's only later that you realize that the engaging first movement cadenza involved some deftly written counterpoint.
Separating the two concertos in the program are two of Musto's concert rags. They're appealing light classical compositions, perfect encore material.