Concerto No. 1 for Piano and Orchestra (1999)

This work is a direct interaction between two well differentiated characters: the ensemble and the soloist. From the beginning, the soloist tries to escape from the unstoppable character of the ensemble. The first of the two movements that form this work is started after this main idea of antagonism is presented. In a very slow tempo, the piano seems to agree almost completely with the ensemble’s ideas. The persistence of the tritone as a former element for the movement is the one of the most important characteristics. After three cadence-type gestures, the second movement, very fast and active, begins. This cadenza starts the continuous confrontation between piano and ensemble. During this last movement, sometimes the ensemble will convince the soloist (though partially), and they will agree in their gestures. These approaches won’t last much, and the piano will react violently to this way to impose different ideas.