Composed in 1964, this Concerto combines dramatic and harshly articulated dissonant harmonies with flashes of modern romantic piano concerti techniques (fast scale passage with black and white keys in separate hands, complex arpeggios, and so on). The first movement begins this way with a statement-like and forceful cadenza which leads to contrasting variations. These are in mysterious, surreal, even pastoral moods. We then are retuRned to the furious energy of this movement's onset. In a reversal of the first movement's plan, Movement II, marked Scherzo allucinante, begins with high, quiet and crystalline textures. Then it is briefly interrupted by a dramatic build-up, then quickly returns to the quieter texture which has now been relatively energized into activity. The sound enters a strange, Bartókian texture and this movement concludes as it began. A solo viola sweetly introduces Movement III (Adagissimo) with a melody built on a repeated signal on one note that develops into octave-stretching intervals expressing deep, passionate feeling. Soon, the full orchestra joins in to echo and complete this statement with some very elegant writing. A counter-theme constructed of extremely wide register displacements (in the manner of Schoenberg's concertos for piano and for violin) follows solemnly. The music builds again to state another perspective on these previous two themes, and the movement is enveloped in mystery. Suddenly Movement IV, a Toccata concertata, flashes through with fierce joy, reminding the listener of the rhythmically inventive genius of Ginastera, the music of this movement moving away from European models. On the whole, a powerful experience.

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