Concerto

On July 24, 1951 Samson François premiered his concerto at the Festival of Aix-en-Provence with the orchestra of the Société des Concerts du Conservatoire, conducted by Ernest Baur. The same year in Paris, he performed it with the same orchestra, conducted by Georges Tzipine, to whom he wrote: "I owe you for one of the most beautiful memories of my artistic life ... ".

Composed of two successive parts, this key work by Samson François reveals a very persona! aesthetic which is not that of the classical concerto. "The real influence on its style is that of jazz. It does not have the form of a concerto as such, it is a kind of improvisation ofboth piano and orchestra."*

His pianistic style, blending with the colors of the orchestra, exploits to a maximum the resonance and technical possibilities of the instrument. We sense the musical maturity in his masterly touch, immersing us into an alchemy of sound. This allows the performer great freedom of interpretation. For Samson François: "The piano is not the noblest instrument in the world, but the most essential." Here, it is his means to expression; the composer dialogues with himself and reveals his states of mind.

This piano concerto has not been performed in concert since 1951. The only recording on disk at this time is of Samson François and Georges Tzipine from 1953. As such, the present edition has an historie character. I am particularly pleased to have contributed to its publication, which will allow this masterpiece to be made widely known.

Frédéric Demoulin

• Book by Maximilien François: Samson François, Histoires de ... Mille Vies,published by Bleu Nuit Éditeur, France, 2002. All quotes are by Samson François.