Baruch Berliner.Fantasia concertante for piano, “Genesis”
The Genesis fantasia concertante for solo piano and symphonic orchestra is a creation of Israeli composer Baruch Berliner—a renowned researcher, mathematician, philosopher, poet, and composer. His works have been performed worldwide to consistent acclaim, earning applause from audiences.
Symphonic music is central to Dr. Berliner’s interests as a composer, with his premier works showcasing the genre of symphonic poem, as demonstrated by pieces such as The Binding of Isaac, Abraham, Jacob’s Dream, and Genesis.
In recent years, the composer has been exploring the concerto—a genre inextricably linked to the symphonic poem within his oeuvre.
Almost all of Dr. Berliner’s major works have programmatic elements, usually rooted in biblical stories and imagery. As a neo-romantic composer, he construes biblical narratives in a vein that is lyrical, epic, and at the same time dramatic. In the post-romantic period, many composers struggled to retain lyrical elements while transcending the limits of lyricism or, in other words, strived to find a balance between the lyrical, the epic, and the dramatic. Inclusion of epic elements into lyrical works has yielded very disparate results—from Scriabin’s cosmism to the paganism of Stravinsky’s The Right of Spring. In Dr. Berliner’s works, an epic narrative is always accompanied by a personal sentiment and a poignant reflection on present controversies through the lens of the holy writ. All his compositions are a first-person narrative by a participant in the events.
At the turn of the 21st century, neo-romanticism was claiming an ever-growing share of the musical universe. Having tried their hand at various styles and techniques, contemporary classics are reverting to the romantic understanding of music as a means to express feelings and depict a person’s inner world.
Romantic imagery, psychologism, programmatic elements, and a synthesis of art forms are characteristic of Slavic and, especially, Russian music, along with melodic richness, exquisite coloristic harmonic language, restoration of music’s hedonistic function, and attention paid to the listener’s emotional well-being and “high aesthetics and positive musical ecology.” Dr. Berliner is a true aficionado of Russian music and an ardent admirer of Tchaikovsky, Rachmaninoff, Prokofiev, and Shostakovich. Excellence in realizing the composer’s creative vision is, to a substantial degree, the result of close collaborations with Russian musicians— both performers and co-authors. In concert with his producer and friend Nachum Slutzker, Dr. Berliner has gathered a galaxy of professionals, setting up the creative laboratory known as Baruch Berliner’s Genesis International Project. In this setting, enticing projects take shape, and most importantly, new and sometimes unexpected interpretations of already acclaimed works come to life. For instance, the Jacob’s Dream symphonic poem has been reimagined as a cello concerto and, later, as concertos for viola, clarinet, and violin. Genesis is another endeavor spanning a multitude of genres. The premiere of the Genesis symphonic poem, which took place in 2010 in Israel, was not the pinnacle of the work’s evolution, but rather a catalyst for its further creative development. Firstly, the composer has expanded the six-part poem with the section “Cain and Abel,” which is now central to the work. Secondly, Genesis has provided inspiration for many composers. In creating their individual interpretations of the piece, they have left a mark on its maturation. Genesis has undergone a series of genre transformations, sometimes being radically reinvented and sometimes revealing unexpected new facets. Today, versions of the score span diverse performance formats, including a ballet and a symphonic rock version with scenography.
Now, a new version—a fantasia concertante for solo piano and symphonic orchestra—has come out, co-authored by the brilliant Moscow composer Andrey Pospelov. A programmatic piano concerto is a rare occurrence, more the exception than the rule. Even the 19th century, the era of programmatic symphonism, programmatic sonatas, concert pieces, and piano miniatures, offered very few examples of the genre. Yet, one notable specimen is Carl Weber’s one-movement Konzertstück, which depicts scenes from the life of the knighthood. The genre of the concerto remained steadfast within the confines of its centuries-long tradition: Although Romanticism and subsequent art movements introduced refinements to the genre, no revolutionary change occurred in its musical particulars or general aesthetics. For instance, unlike operas, symphonies, or other vocal and instrumental genres, piano concertos were unresponsive to political changes and social turbulence, be it the French Revolution, the European national liberation movements of the 19th century, conflicts in the Middle East, or ferocious Stalinist repressions.
The inherent features of the genre are constant and immutable. These include its interactivity, the element of competition, and the very essence of a concerto—where the soloist is spotlighted, standing in contrast to both the audience and the other performers. This effect is achieved through virtuosity, a core element of the concerto. Dr. Berliner’s Genesis is a highly virtuosic piece, composed for the greatest command of the piano achievable today.
The Genesis fantasia concertante is a romantic, symphonized concerto cycle harking back to the works of Liszt, Brahms, Tchaikovsky, Rachmaninoff, and Prokofiev. The tendency towards interplay between the symphonic and concerto genres has determined the four-movement cycle of the composition, along with the programmatic nature of the grandiose symphonic poem, the symphonic conceptuality of the fantasia concertante, and the profound message transcending the limits of the intrinsically game-like concerto genre. Key to the fantasia concertante is Liszt’s orchestral, and Prokofiev’s percussive, pianism. Unlike other compositions by Dr. Berliner, dominated by the trademark melodic elements, this piece has percussive and virtuosic components at its core. Different types of texture coalesce in this composition: movement in parallel octaves, chords, or double thirds; various progressions with common forms spanning all the registers and ranges of the keyboard; polyphonic texture; and imitative texture evolving as far as the fugue in the third movement. Prokofiev once labelled Rachmaninoff’s concertos as “piano symphonies” where piano and orchestra seamlessly amalgamate. In Dr. Berliner’s work, this process unfolds naturally, as his concerto has historically evolved from a symphonic piece. The soloist and orchestra are in constant interaction, with some cadenzas featuring orchestral inclusions; their dialog never ceases.
This first movement of the fantasia concertante consists of two sections that differ sharply in both the scale and the message they carry. The first one fulfills the function of an overture, presenting the central images of the composition—the leitmotifs of the creation of the world and humanity, on the one hand, and the theme of destruction, on the other. It corresponds to the first part of the symphonic poem, modified using concerto techniques, such as improvisation and the inclusion of solo piano monologues and dialogs between piano and orchestra. The piano part has been expanded, and the level of virtuosity required has increased. The beginning of the concerto is identical to that of the symphonic poem where the narrator’s words “When God began to create heaven and earth, the earth being unformed and void, with darkness over the surface of the deep and a wind from God sweeping over the water” are followed by the orchestra providing an audial depiction of the NOTHINGNESS, from which the earth was formed. The distant rumble of a timpani tremolo in a very low register is played pianissimo. A faint beam of the first light portrayed by high violins and clarinet is supported by the atmospheric flashes of solo piano reflecting the vestiges of the cosmic explosion (“And God said: ‘Let there be light.’ And there was light”).
Similarly to the symphonic poem, the central themes are formed and developed by the orchestra, following the double exposition pattern typical of the concerto form. Gradually, the austere primeval theme of the creation—the composition’s leitmotif—emerges. Its epic, unhurried, rhythmic tranquility is disrupted by a series of contrasting motifs, instantly sparking a conflict. First, a four-tone motif rushes in, comprised by two minor thirds linked by a diminished fourth. Its rhythm is sharp, as is the timbre of flute and piccolo, which sustain the leitmotif of destruction. A variant of the latter leitmotif, now with a jagged melodic contour, follows, supplanted by piano explicitly citing Bach’s concerto in D minor for two violins and orchestra, which has particular significance for the poem:
The gradual saturation and dynamic expansion of the texture build toward a bright and exalted climax, heralding the pivotal moment of the Creation—the advent of humanity.
The background for the Creation comprises broad wavelike progressions alternating with intense episodes of percussive pianism performed by the soloist, who seems to observe the unfolding processes, waiting to express their feelings in the ensuing thoughtful and lyrical dialog. The progressions also contribute to the saturation of the composition’s main thematicism. This short dialog acts as a transition to the second section of the movement, introducing the forthcoming—lyrical—main theme.
Although the title of the first movement refers to its initial section, the primary focus is on the second one, which is twice as long as the first. The second section is identical to the “Prologue” of the namesake symphonic poem. The prologue was added to the poem after the composition had been completed and premiered, with its music borrowed from Dr. Berliner’s previously unpublished symphonic poem, “The Binding of Isaac.” The borrowing comes from the fourth, central, movement bearing the name of the poem. This prologue is not linked to Genesis, either thematically or semantically. Yet, the music is powerful, impressive, and dynamic, having deservedly developed into the principal image of the first movement. As the composer himself admits, The Binding of Isaac was inspired by Symphony No. 4 by Dmitry Shostakovich—for whom both Dr. Berliner and Mr. Slutzker have tremendous admiration. The music of the Russian classical composer has frequently served as a model for Dr. Berliner’s work, influencing both its imagery and themes. In the prologue to Genesis, a typical Shostokovichian contrast between the vigor of “violent scherzo” and the image of universal anguish follows the intonational patterns also often employed by the composer. The music from the prologue is almost fully reused in the second section of the first movement. Despite the preservation of the ternary structure, the reinstrumentation has imparted some spontaneity to the form. In the exposition, the themes are introduced by solo piano, while in the recapitulation, the tonal relationships remain unchanged. Timbre dynamisation takes place, with the themes now played by the orchestra. The form follows the principle of monothematism, where all thematic material arises exclusively from the initial aggressive motif, betraying a devilish smirk.
The development of the exposition section follows a wavelike pattern. The theme is first announced by solo piano, then it is performed more dynamically by the orchestra, and once again, with increasing intensity, by piano and snare drum. The climax features three waves of build-up, utilizing a more forceful variation of the opening motif:
The intensive dynamic development reaches a sinister culmination (6) bringing forth profound sorrow and anguish (7).
The development section concludes with the soloist’s cadenza, reliving and embracing the drama of earlier material.
The recapitulation, which exhibits greater dynamism, is more condensed. Events are tightly concentrated, heightening the tension even further. At the crest of the wave, a new, endlessly mournful variant of the theme emerges, accompanied by a rhythmic tragic procession, where emotions overwhelm and suffering reaches its miserable peak.
A tragic climax concludes the first movement.
The intense dramaticism of the first movement is superseded by the exquisite lyricisim of the second one, which narrates the creation of the garden of Eden and the first humans. This gentle and poignant story of love is the most romantic part of Genesis—both the symphonic poem and the concerto. Dr. Berliner has a flair for romantic imagery: as a poet and composer, he believes true art to be romantic in its essence. Romanticism elevates emotions to an absolute. And what is music, if not a tool to express feelings?
The movement dubbed “Adam and Eve” is the lyrical core of the fantasia concertante and the symphonic poem alike. Since the slow movement of instrumental concertos harks back to the aria lamento, composers employ in this part vocal-type melodies along with development techniques characteristic of vocal genres. A song-like melody played to an accompaniment is a typical texture for romantics’ compositions, from Schubert’s Unfinished symphony and Mendelssohn’s violin concerto to the neoromantic lyrical elements of Prokofiev’s concertos. A romance in waltz rhythm to a lute and mandolin accompaniment (soft pizzicato in cello and double bass) perfectly captures a feeling that is divinely sublime and yet replete with human warmth and sensibility.
Conceptualized by romanticists, the “singing piano” was considerably reimagined in the 20th and 21st centuries. However, its original qualities occasionally reemerge. Once, Rachmaninoff was asked about the first theme of his piano concerto No. 3. The composer’s reply was very simple: “I wanted to ‘sing’ the melody on the piano, as singers do, to find a suitable orchestra accompaniment or rather the one that wouldn’t dampen the ‘singing’. That’s all.”
The broadly flowing melody of the second movement—a monothematic transformation of the theme of creation of humanity—is framed by the bird trills of the serene garden of Eden. The tremulous tenderness of the outer sections gives way to the ecstatic elation of the soloist’s piano improvisations gradually fading and dissolving into quiet bliss.
The first movement’s wave of intense drama overwhelms the listener anew in the third movement of the fantasia concertante, “Cain and Abel”—a dramatic scherzo by genre, it serves as an intermezzo. This movement has experienced the most substantial alterations compared to the symphonic poem. It has been greatly abbreviated, with a lengthy episode of Cain’s reflections, his deplorable choice, and the murder of his brother Abel omitted. The fantasia concertante portrays the events that occur after Cain’s heinous crime and his being cursed by God.
Similarly to the poem, the third movement opens with a slow introduction reminiscent of that to the first movement. Amid the harsh glissandi from timpani and the muffled rumble of double basses in a slow tempo at a soft dynamic level, xylophone in the upper register develops a biting, hustling motif of Cain, a variant of the theme of destruction. In the fantasia concertante, the xylophone part was largely transferred to solo piano. In the latter case, the bright timbre of the instrument becomes the primary means of expression, giving the simple thirds-based motif the character of a devilish grimace (“Sin couches at the door; Its urge is toward you, Yet you can be its master”).
The main section is a fugue. The element of destruction has overwhelmed the universe: the harmony of the Creation has been disturbed. Horror and confusion reign as the sin brings the world to the brink of obliteration. The musical material is concentrated to the utmost, and the tense dramaturgy progresses towards its resolution.
Three contrasting motifs—three motifs of the leitmotif of destruction—constitute the eight-bar theme of the triple fugue (4+2+2 bars):
Now stripped of its lyricism, the opening motif of the main theme from the symphonic poem’s third movement, “The Expulsion from Paradise,” serves as a recurring countersubject.
The interludes build on an aggressive mechanical theme, almost a direct quotation of the invasion theme from Shostakovich’s Leningrad Symphony No. 7. In the interlude, an intensifying wave rises, gaining strength with each section of the fugue and leading to a tragic final climax where the invasion theme emerges as a symbol of enmity, war, murder, and global evil:
In the coda, the tumult fades away, signifying total obliteration. The harmony of the world is shattered, and the sinister procession retreats. The mythological plot and eternal themes suddenly transmute into the events of recent past, experienced by the composer as a child: the departure of Third Reich soldiers from a ravaged land trampled by their boots.
The finale, “The Flood and the Covenant,” amalgamates the material of the symphonic poem’s last two movements. Its large, expansive canvas, equal in scope to the first movement, serves as the climax of the dramatic, thematic, and musical development of the fantasia concertante. The thematic arc that extends from the first movement to the finale—a defining feature of the romantic symphonic concerto—provides the composition with dramaturgical unity. This sense of unity is further reinforced in the fantasia concertante by the leitmotif system and the principle of monothematicism.
With epic unhurriedness, a pleasant, melodic, jazz-styled theme by the solo piano marks the beginning of the narrative (13). This theme smoothly transitions into that of Noah’s Ark, which is a major-key variation of the Creation leitmotif—in the symphonic poem, it is played to the reader’s words “and the ark drifted upon the waters.” The theme is colorfully harmonized in the same jazz manner (14). The abundance of tone color embellishments in the harmonic language is a standout feature of the concerto version of Genesis.
The serene calm of the piano part is disrupted by the ominous droplets of the impending downpour rendered by xylophone, flutes, piccolo, and harp. This marks the transition to the middle section. The leitmotif of the creation of humans flashes, first played in a major key by flutes and then in a minor key by clarinets (in the poem, it is concurrent with the words “…all mankind. Everything on dry land that had the breath of life in its nostrils died”). The crouching steps of death (pizzicato in cellos and double basses), followed by a rapid crescendo, a buildup of energy, and a plunge into a raging demonic storm. “The Flood” is the cycle’s most colorful, illustrative musical scene, where tense and event-filled, dramatic episodes alternate with decorative, pictorial ones. Compared to the poem, the middle section of the fantasia concertante contains solo piano episodes and dialogs with the orchestra, conveying personal perspective, internal emotion, and inner psychological struggle. Dramaticism and vivid imagery merge to portray feelings rather than events.
Extended improvisational piano cadenzas overwhelm with power and grandeur, unleashing the full arsenal of virtuoso pianism on the listener. The climaxes of an orchestral tutti, reinforced by the percussion section, cascading torrents of water in harp glissandi, and woodwind passages, paint a universal catastrophe. At the heart of the storm is the leitmotif of destruction, known from the first movement. The descending whole-tone scale adds a mystical quality to the material. The first wave of climax brings about the apocalyptic sound of the theme of the cross played by trombones—a theme symbolizing inhuman suffering.
Five episodes, organized in a wave-like pattern of dramaturgy, build toward the grand climax of the catastrophe:
A tone-painting episode of receding waters is depicted by descending chromatized passages in winds and piano in diminuendo, which are gradually joined by orchestra voices. Then, the soloist’s part follows, restating the theme of the ark (“Only Noah was left,” says the poem’s narrator at this point). The recapitulation (“Covenant”) serves as the culmination of the intense instrumental drama. The storm has subsided. Bright, serene, improvisational piano cascades across the entire keyboard cast a rainbow across the sky. The soloist develops the initial theme with an ecstatic, joyful cadenza, symbolizing rebirth and new life. The multi-layered, broad-range orchestral texture envelops the space with warmth and light, suffusing it with heavenly trills. The cadenza leads to the grand climax of the finale: the bright timbre of trumpets cuts through the orchestra’s sound, powerfully affirming the first movement’s theme of the creation of humans. In a truly Rachmaninoffesque lyrical and yet epic climax, the triumph of humanity is announced. Having walked the thorny path of struggle and knowledge, life’s upheavals and inner conflicts, the human being is now filled with the light and joy of spiritual perfection and harmony with the world:
Thus, the concept of the fantasia concertante differs slightly from that of the symphonic poem it is based upon. In the poem, the idea of absolution, as expressed in the final lines of the text, shapes the musical material. Heard at the climax, the fusion of the Creation leitmotif with the themes of the rainbow and nature symbolizes the harmony of the universe and the unity of humanity with nature and God. The new interpretation may stem from the specificity of the concerto genre. Conceptually, the symphony, as the most expansive instrumental genre, explores the world and humanity’s role within it. Baruch Berliner’s multi-movement symphonic poem, which delves into global themes, is indeed comparable to a symphony. Yet, a concerto, especially a romantic one, views humanity from a more personal angle, depicting the connection between one’s inner world and the world beyond. The joyful and triumphant conclusion of the fantasia concertante puts humanity on a pedestal, portraying humans as the crown of creation, capable of attaining wisdom, freedom, and happiness through struggle.
The Genesis fantasia concertante premiered on October 12, 2023, at the Voronezh Philharmonic to considerable acclaim. The performance featured Philip Kopachevsky as the soloist and the Voronezh Philharmonic Orchestra, conducted by Mikhail Kirchhoff.
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Out of the many piano concertos written in the 20th and 21st centuries, only a few have endured in the repertoire. While pianists consistently return to the romantic concertos of Tchaikovsky, Rachmaninoff, Liszt, Chopin, Grieg, and Prokofiev, works boasting trendy technical and sonic innovations often have a short lifespan. Once premiered, they are typically relegated to the forgotten corners of music history. Berliner, however, carries the romantic concerto intact through the thorny path of expressionism, modernism, constructivism, urbanism, and postmodernism, enriching it with the most viable elements of contemporary movements and styles. We hope that today’s pianists will embrace this inspiring creation by the Israeli composer and incorporate the fantasia concertante into their repertoire.
Marina Plazinskaya
Notes:
1. The 20th century witnessed the emergence of various intermediate genres synthesizing symphonic, chamber, and concerto elements, and sometimes incorporating theatrical genres, particularly ballet. Almost all composers of the time experimented with synthesizing various art forms. These efforts yielded showpieces such as Scriabin’s Prometheus: The Poem of Fire tone poem for piano, Paul Hindemith’s Kammermusik and Konzertmusik, Igor Stravinsky’s Les noces, Petrushka, Symphony in Three Movements, Francis Poulenc’s Aubade, Alban Berg’s Chamber Concerto for piano, violin and thirteen wind instruments, Karol Szymanowski’s Symphonie concertante for piano and orchestra, and Mieczysław Weinberg’s Symphony No. 7 for harpsichord.
2. Kulev, V. Posvyashchenie klassikam: buklet [An Homage to Classics: A bookelt]. Posvyashchenie klassikam [An Homage to Classics] CD (electronic resource). OOO Mikhaylov, 2013.
3.Among the co-authors and interpreters of Berliner’s works are Russians Mikhail Kirchhoff, Evegney Atsapkin, Andrey Pospelov, Sergey Antonov, Boris Andrianov, Haik Kazazyan, Nikita Vaganov, Graf Mourja, and Philipp Kopachevsky.
4.The ballet premiered on December 4, 2022, at the Maldybaev Kyrgyz National Academic Theater for Opera and Ballet. The Creative Commission of Kyrgyzstan’s Ministry of Culture included it in the theater’s repertoire. The project was managed by Evgeny Atsapkin, with the libretto written by Olga Kuznetsova. Choreography was composed by Dmitry Pimonov; the costumes designed by Dmitry Pimonov and Tatyana Astakhova. Mikhail Kirchhoff conducted the theater’s symphonic orchestra, while the ballet company was led by Iazada Tumakova, a National Artist of Kyrgyzstan. The project was produced by Nachum Slutzker.
5. Another version, arranged by Ronen Nissan in 2020, premiered in Lviv in 2021. In 2022, the Genesis Rock Show, co-authored by Evgeny Atsapkin, who also wrote the songs for the performance, was presented to the audience in Kaliningrad.
6. Andrey Pospelov (born in 1994) is a composer and professor of music theory. Holder of numerous awards, he won third prize in the composition category at the First Rachmaninoff International Competition for Composers, Pianists, and Conductors, and received a special prize at the second All-Russian Partitura competition in the large-scale symphonic work category. Mr. Pospelov has composed chamber and symphonic pieces, as well as music for stage productions and media. He is the artistic director of the Chamber Underground association, which promotes contemporary classical music. A graduate of the Ippolitov-Ivanov State Musical Pedagogical Institute with a degree in Musicology (2019), he earned his doctoral degree in Composition in 2022.
7. The father of the clavier concerto Johann Sebastian Bach established the ternary structure, which defines the dramaturgical functions and affects of each part: part I—the center of gravity—effectiveness; part II—the lyrical core—psychological depth (stemming from lamento arias); part III—the balancing finale—the genre element. Viennese classics enriched the concerto with symphonic dramaturgy. But, unlike the symphony, the concerto lacked the third movement—intermezzo—since this essentially ludic genre did not require a dedicated ludic element. Intermezzo was only present in the concertos whose profound and thoughtful message likened them to symphonies, cf. Brahms’ piano concerto in B major.
8. This structure is reminiscent of the first movement of Symphonie fantastique by the founder of programmatic symphonism, Hector Berlioz.
9. In the original version, this ‘crystal tinkle’ was created by xylophone, harp, and flute, accompanied by piccolo. In the score of the fantasia concertante, most of the xylophone part has been transferred to the solo piano.
10. See Plazinskaya, M. Simfonicheskaya poema Barukha Berlinera “Sotvorenie mira” v kontekste bibleyskoy tematiki v mirovom iskusstve [Symphonic Poem Genesis by Baruch Berliner and Biblical Themes in the Context of Art History]. Tel Aviv, 2022. ISBN 978-965-561-270-7. Pp. 125–126; Plazinskaya, M. “Baruch Berliner. Genesis symphonic poem”. Belcanto.ru.
11. Iz arkhivov russkikh muzykantov [From the Archives of Russian Musicians]. Moscow, 1962, p. 62.
12. The structure of the fugue is based on the traditional precepts of the genre. The exposition contains three statements of the theme, using a tonic-dominant relationship (piano in B, second violins and violas in F-sharp, and first and second violins in B). They lead to the first climax in the interlude (piano, followed by trombones in F-sharp). Yet another statement in F-sharp resolves into the second climax (cellos, double basses in B). The tonal and timbral treatment of the theme (A – E – A – E), along with the stretto, forms the development section. The development continues into the recapitulation, which returns to the main key (stretto, theme in augmentation). The coda introduces a tonal shift to G minor, where the third movement concludes.
13. The melody was composed by Andrey Pospelov, with the fantasia concertante preserving its initial texture.
14. “…never again shall all flesh be cut off by the waters of a flood, and never again shall there be a flood to destroy the earth.” God further said, “This is the sign that I set for the covenant between Me and you, and every living creature with you, for all ages to come. I have set My bow in the clouds, and it shall serve as a sign of the covenant between Me and the earth.
Источник: www.belcanto.ru