Why is the Piano in the Wrong Spot?
Andrew O'Brien, pianist

Concertgoers might raise an eyebrow when they spot a piano nestled among the orchestra, rather than taking center stage. I thought it might be fun to take a brief journey into the history of pianos augmenting orchestral sound. In my cursory exploration, the earliest symphonic work to feature a piano that came to light was Camille Saint-Saens' "Organ" Symphony No. 3, completed in 1886. However, the piano’s part has nowhere near the prominence of that of the organ.

Moving forward, Gustav Mahler's Eighth Symphony, known as the "Symphony of a Thousand" and premiered in 1910, incorporates a piano into its score. I must confess my prior unawareness of this fact, despite my profound familiarity with the piece. Mahler, a virtuoso pianist himself, employs the piano to double other instruments, preventing it from truly taking the spotlight.

There are other notable orchestral compositions featuring the piano, including Dmitri Shostakovich's first, fifth, and seventh symphonies, Igor Stravinsky's iconic Rite of Spring, and Ottorino Respighi's enchanting Pines of Rome. This list barely scratches the surface but can serve as a splendid starting point for your auditory exploration on a rainy day.

The integration of the piano into the orchestral soundscape coincides with the evolution of the modern piano. The pivotal advancement here is the introduction of the steel plate, which allows for greater string tension (a concert grand boasts a staggering twenty tons of string tension), resulting in a more authoritative and resonant tone than the smaller pianos that preceded it. Though the piano boasts numerous strings, it doesn't fall under the category of stringed instruments (even though I will be sitting among the strings!). Instead, it is classified as a percussive instrument. This designation arises from the action of felt hammers striking the strings from below. This percussive nature permits unison octaves, tremolos, and other musical figures to pierce through the orchestral tapestry with pristine clarity.

Let's turn our attention to the upcoming AZ Phil concert, where we will be performing Bohuslav Martinů's Sinfonietta La Jolla. Martinů, born in Czechoslovakia in 1890, experienced a life that spanned continents. During World War II, he sought refuge in the United States and decided to stay, avoiding the grip of communism in his homeland. In 1952, he became an American citizen. He passed away in Switzerland in 1959.

Martinů's prolific output includes six symphonies, fifteen operas, fourteen ballet scores, as well as a rich tapestry of orchestral, vocal, chamber, and instrumental works. The Sinfonietta La Jolla was commissioned in 1950 by the Musical Arts Society of La Jolla, California, with a specific request for a work that would be melodious and accessible. For La Jolla, I will be playing the piano, which plays a prominent role, including a large solo section. This composition is a delightful gem, adorned with enchanting melodies and harmonies that promise to charm your ears at our upcoming season opener concert: Saturday, September 9 in Gilbert, AZ and Sunday, September 10 in Prescott, AZ.

- Andrew O'Brien, Pianist

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