We use cookies to make our website work, to improve your experience, to analyse our traffic and to tailor our communications and marketing. You can choose which of these to accept, or accept all.
Help
The first ideas for the Third Concerto for Orchestra came during a trip through South America: there are sound pictures of Lake Titicaca, riotous New Year's Day celebrations in the Bay of Bahia,... — Gramophone Classical Music Guide, 2010
More…
Usually despatched in 4 - 5 working days
Contents
London Symphony Orchestra Michael Tilson Thomas
2010
The first ideas for the Third Concerto for Orchestra came during a trip through South America: there are sound pictures of Lake Titicaca, riotous New Year's Day celebrations in the Bay of Bahia, the slow train-crossing of the Great Brazilian Swamp and the huge, satanic slag heap at the Potosì Silver Mine. Holloway jotted them all down on the spot: then his notebook was stolen, and it took another 13 years to recall them and finish the piece. By then, the alchemical processes of memory had transformed the original musical impressions into something quite different. What might have been simply a descriptive tone-poem finally emerged as a powerful and unusual musical argument – a huge slow movement, with a moderately fast dance-like finale, which evolves from tiny scraps of motifs (there's hardly a 'theme' in sight). And yet much of the original 'illustrative' character of the piece remains.
