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\n \n About work:

The Concert for Orchestra, Op. 30 is one of his most important works wherein the author plainly reveals his individual profile as composer. The principle of concertant style is here used to bring into play the multiple colour and technical possibilities of the instruments in a symphonic orchestra. In this healthy melodious feeling and harmonious richness is also added as important expressive and form-creating element: rhythm. The composition, which has five parts, is in form a combination of sonata and suite cycleness.

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Part I is rondo form with two alternating themes. It is approached with a slow introduction above the ostinato reserved tone in E. The further gradation and climaxation prepares the way for the entrance of the chief theme, which is melodiously and rhythmically expressive, and extends from the motif as centre on broad formulation of the chief theme group. It reaches its climax in No. 7. After the fall and brief junction, there follows in No. 8, the second thought with expressive signs of Slovak folk melodic. Already at No. 9 is to be seen a return of the second theme. This is alternated in turn with the motivated chief of first theme, together with the substance of its whole thematic group. In No. 18 at the climaxing the closing code sets in again with the chief motif making itself felt. In full orchestra, in this way, the first part is rounded off to a close.

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Part II is a broad, lyrical picture, opening with two mutually similar themes touching on Slovak folk character. After the execution of the theme first in string instruments, the second theme is taken over at once by the oboes in solo in No. 1. The continuation forms its synthesis and variation. In No. 3 we meet a rhythmic, more elastic episode built-up on the foundation of the variation technique, which makes way for a new modification of the second theme (No. 4). This enters in gradation, climaxing in No. 5. After the fall, as short quotation out of the second theme arrives with the violoncellos and solo violins (No. 6), preceeding in preparation of the second theme which is to begin at No. 7, and repeats itself in strong sounding register similar to that at the beginning. At No. 8 variating similar to the second theme is to be seen. This, with its fresh continuation comes in at No. 10 in new episode, characteristic melody in violoncellos and contrabasses. The process grades, and at No. 11 we meet a fresh climaxing of this part; at the end of which the solo flute, at Nos. 12 and 13, bring in twice a return of fragments from the first theme, which in form rounds off and closes the second part.

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Part III is in scherzo character. The short thematic introduction in full orchestra prepares the entrance of the chief theme in No. 1. This is repeated by woodwind Instruments (No. 2) with a new accompaniment. The centre of the work beginning at No. 5 works out the leading theme, which is alternated further with new ideas performed by the violins at No. 8. This is followed up by a short quotation from the chief theme (6 bars before No. 11). At No. 11 new variation of the leading ideas begin and there appears here also partly fresh worked out material. The motivated core of the chief theme is seen at the climaxing at No. 14. A reprise of the chief theme, in rich variation, begins at No. 15. Grades continually and ends in full orchestra.

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Part IV is of a meditative mood. It is solved in three-part form. Opening by the similar fugato in which the theme in free modification follows up the ascent in single voice throughout the string orchestra. At the climaxing of this fugato the first part comes to a close. The centre work begins at No. 4 with the answering thematic of wind instruments into which the string instruments cut in only very sporadically. The third part forms the returning of the group of string instruments in free quotation of the leading theme. At No. 10 a short continuation of the closing code is to be heard.

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Part V forms the closing finale in dance character. It is based on the variation work out of the chief theme. Following a short introduction, already in the sixth bar, the chief theme sets in. It is brought in by the piano. It is broadly formulated and is subjected to the variation work. At No. 5 fresh continuation creates the arrival of the second theme (No. 6), drained from the IInd part of the Concert. After No. 8 preparation to the fresh introduction of the quick chief theme at No. 10, as well as to their further repeated variation in Nos. 11, 12, 13. At No. 15 the second theme begins to be repeated. This comes into a powerful climaxation (Grandiosamente), and the fall preceeding No. 18. Then there enters again the change to quick, dance tempo in which there appears also new thematic element and its separating. At No. 24 the code appears and within its framework the chief theme sets in for the last time in full orchestra (No. 26), in which the composition, in full orchestral tone, comes to an end.


\n (Ladislav Burlas, in: Foreword to the score, Bratislava : Slovenské vydavateľstvo krásnej literatúry, 1960)
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\n Movements:
\n\n Lento assai. Allegro vivo\n \n
\n\n Con moto quasi allegretto\n \n
\n\n Allegro burlesco\n \n
\n\n Adagio meditativo, con tutta espressione\n \n
\n\n Allegro con brio\n \n
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First performance abroad

\n \n 31.05.1958, Prague Spring International Music Festival,\n Prague,\n CZ\n\n
Performers: Slovak Philharmonic, Edgar Doneux (dir.)\n
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First performance in Slovakia

\n \n \n 12.06.1958, The Bratislava Spring,\n Concert Hall of the Slovak Philharmonic,\n Bratislava,\n SK\n\n
Performers: Slovak Philharmonic, Edgar Doneux (dir.)\n
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