Obres

Informació de l'obra i context de creació

The Concerto for piano and orchestra was composed, according to the composer herself, for the 1953 City of Barcelona Prizes, at a time when she had already composed several piano pieces, such as the Prelude in C-sharp minor or her Caprice in popular style, dated 1950. For reasons currently unknown, the work was not submitted to the aforementioned call for works. It was premiered on 5 June 2019 at the Palau de la Música in Valencia.

Contemporary composers of Mª Teresa Oller were the Americans, Ruth Crawford Seeger (1901-1953), Louise Talma (1906-1996), Edna Mae Burnam (1907-2007), Miriam Gideon (1906-1996), Victoria Bond (1945), Libby Larsen (1950), Anne LeBaron (1953), Jennifer Linn (1960), Dinorá de Carvahlo (1904-1980), Hilda Paredes (1959) and Gloria Isabel Ramos (1964); the Europeans, Elisabeth Lutyens (1906-1983), Grace Mary Williams (1906-1977), Berta Alves de Sousa (1906-1997) and Priaulx Rainier (1903-1986). Among them, the Spanish Elena Romero (1923-1996), Mercé Torrents (1930) and María Dolores Malumbres (1931-2019) and the Valencian Ethelvina Ofelia Raga (1911-2005) and Matilde Salvador (1918-2007).

Among the successor composers who have survived to the present day are the African, Graziane Finzi (1945); the Russian, Elena Firsova (1950); the Australian, Anne Boyd (1946) and the European, Carol Barratt (1945), Gisèle Barreau (1948), Kaija Saariaho (1952), Violeta Dinescu (1953), Adriana Hölszky (1953), Regina Irman (1957) and Katrina Penman To these we can add the Spanish, Gloria Villanueva (1953), Marisa Manchado (1956), Mercedes Zavala (1963), Carme Fernández Vidal (1970), Gloria Rodríguez (1972), María Mendoza (1975), Laura Vega (1978), Sira Hernández and the Valencian, Mª Ángeles López Artiga (1939).

Indicacions

This Concerto, of classical formal style, is structured in three movements: Allegro deciso, Andante cantabile and Allegro deciso. Its sonorities reveal the compositional tradition inherited from his teachers, the interest in popular music (which transcends mere quotations and local picturesqueness) and the influence of French composers of the late 19th and early 20th centuries. 
In Secondary Education, a podcast on the premiere of the work can be proposed as an activity in 1st ESO and in active listening activities with special attention to the three levels of listening:

a) Sensory: thinking about what sensations the music expresses.
b) Descriptive: noting down what we can imagine with this music, what happens, what it may be telling us.
c) Musical: commenting on what musical elements can be recognised: qualities of sound (pitch, intensity, duration and timbre), rhythm and tempo. Explanation and aural recognition of form. 

In Higher Music Education, in the subjects of Orchestra and Piano and Orchestra.
At University, in Teacher Training, in subjects with competences in Music.

Documents