Force Majeure

The four movements of Force Majeure are as follows:
1) Rotor has at its base the rhythmic, motoric and harmonic drive. It’s a movement of high pulsating energy, is a real workout for Lisa, and has a glimpse of the occasional Bach reference.
2) Broken Barcarolle is trance-like, mysteriously atmospheric, elusive at times. There is emphasis on harp and plucked sounds, delicate vibraphone and an occasional gong. There are 4 main harmonic sections, with a scale-like melody appearing in horn and other brass at certain point, just before the harmony makes a shift. There are hints of Debussy here and there.
3) Twisted Rag is an edgy, “in your face” dance, ending with a kind of a Jahrmarkt Waltz after a slowish solo piano moment.
4) Czardas Noir. I have always liked Czardas. This finale starts, as often with Czardas, with a slow unfolding of accented materials. There are more heavy, low registers used in this movement. While it is in 4/4, an occasional 3/4 throws it off balance. Many semiquaver passages are being passed around between soloist and ensemble. Towards the end some of the first movement “Bachian” chord progressions return.

The initial compositional impetus of this concerto coincided with creating an orchestra score for the silent film “Varieté” for German TV Channel ZDF/arte. I found myself watching and “inhaling" the scenes of the world of trapeze artists at the Showgrounds, working and living through all kinds of emotions - both highs and lows. The circus atmosphere, along with some darker undertones, subconsciously flowed into the piano concerto.

Force Majeure was commissioned by Lisa Moore and made possible through the generous support of the Sydney Conservatorium of Music and individual donors.
Elena Kats-Chernin, February 2024

Force Majeure is a concerto for piano solo and orchestra in four movements. The title (besides it’s legal ramifications - especially for musicians during the pandemic) means “irresistable compulsion, or greater force” and is reflected in the tremendous energy and rhythmic drive of the music. The composer’s roots in Russian tonal music and theatrical work bring together these influences to create three movements of dancing propulsion, and a mesmerizing water-emerged dreamy slow movement.