This was, in fact, my very first composition, when a mere teenager! Initially it was for piano, and is very much based on baroque / classical pastiche. I have kept the original piano part as it was then, but after deciding to add string accompaniment many years later, felt that the change to harpsichord would be appropriate. It is cast as a short, three-movement concerto, but because of the slighter dimensions, I felt that 'concertino' would be a more suitable title.

Of course, it is not su... (more)

This was, in fact, my very first composition, when a mere teenager! Initially it was for piano, and is very much based on baroque / classical pastiche. I have kept the original piano part as it was then, but after deciding to add string accompaniment many years later, felt that the change to harpsichord would be appropriate. It is cast as a short, three-movement concerto, but because of the slighter dimensions, I felt that 'concertino' would be a more suitable title.

Of course, it is not supposed to mimic an authentic Baroque style, either in the harpsichord writing per se or in the melodic material, where clearly the second movement closely betrays its original piano source. It is, as said earlier, a piece of light-hearted pastiche, and an attempt to add some new life to a (now) very juvenile composition!

All Reviews

There are 5 reviews for this score

Tres Galante!
A very charming work. The second movement seems to be unusual in the harpsichord literature as it is more lyrical than one normally expects from a harpsichord. There is a Bach Harpsichord Concerto which comes close but it does achieve what this piece does. I is nice to know that I am not the only person writing for the Harpsichord these days other than the expermentalist of the 1960s. This piece succeeds where the Poulenc one fails. Encore Please! William Rowland

William Rowland

Ebullient, then Solemn, but Altogether Moving!
I adored this work. In the beginning, the playfully frenzied pace and the lightheartedness of the melody made the entire beginning like a mood-lightener. It almost made me smile. That's how moving it was. And, the fact that the second movement was slower and poignant wasn't even a disappointment because, in it's own way, it was just as moving and beautiful. I loved all the accidentals, all the chords, and, morever, the harpsichord! =D Although I love harpsichord, and, although the harpsichord got the job done (I think of the harpsichord as a more happy instrument than the piano, which fit the beginning), I'm curious as to how a piano would sound like. A pedaled piano in the second movement would sound heavenly. But, excellent, nonetheless! You must've been amazing as a teenager. o_o;; I'm a teenager, now, but I don't think I've ever composed anything like this. ^_^

Sean McHugh

This is not baroque...
Great job Mr. Buttal, you have done good work. But I think this could better be played on piano rather then on harpsichord. I listen much to the concertos of Bach, and I think that this Concertino is too "softy" to be called baroque. I would say this would better be genred in late Classicisme or early Romantic. Because of the many accidentals it's not simple for the harpsichordist. Look at one of the concertos of Bach and Haendel and look how they use the harpsichord. A baroque piece must got some glory, something that strong. And sometimes (like in the second movement) I feeled like this was a concerto for piano. And the much pizzicato in the strings just doesn't fit the baroque style. But I think I could forgive this all because you where a teenager ;-) (like me). Keep up writing for harpsichord!

Mario Sarrechia

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