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Biography
Listeners' reactions to J Townley--Piano Concerto No 2: 
"...probably one of the best "romantic" piano concertos of the XXIst century..."
"...this equals if not beats Saint Saens piano concerto in G minor."
" A masterpiece - Rachmaninoff himself couldn't have done it better. "
" OMG!!! did you compose all this??!! It completely amazed me from the first seconds. "
" Absolutely beautiful work Joe! I'm really impressed!? "
" Love it love it love it even more? than the first time I heard it :) "
" This? is beautiful. "
" I was so enthralled by the opening movement that I just listened to the whole piece at once..."

I wrote this concerto in 2013 to fulfill a youthful dream as an aspiring concert pianist to compose a concerto in the Romantic tradition and then premiere it much in the same way Rachmaninoff did. A severe finger injury at 19 ended that dream but the desire laid dormant in my subconscious through the intervening decades while I was in the business world. In 2011 the concerto finally got written and it became my First Piano Concerto in F-Sharp Minor Opus 1. Yet it wasn't the concerto I had aspired to write, having grown up with Rachmaninoff's Second Concerto playing itself in my head all the time. This Second Piano Concerto is the concerto I would have wished to have written then. I have had no formal training in composition or orchestration--I am entirely self-taught. This is my second attempt at composing. 

1st Movement (quasi una Fantasia) Intro: 0:02 - Main Theme 0:32
2nd Movement (Scherzo) 7:54
3rd Movement (Valse Triste) 13:02
4th Movement (Finale) 16:14

The volume between the 3rd and 4th movements will drop for some strange reason. Please turn the volume up at the start of the 4th mov for maximum enjoyment. 

A video with the concerto's original slow, tender ending is located at
https://www.youtube.com/watch?v=Tq0fuBe1Sgs

A few idiosyncrasies in the notes occurred in the score-to-score transfer. Fortunately 99% of the notes are intact.

The concerto is heavily cyclical, in that many themes and motifs appear here and there throughout the four movements, sometimes in fragments and sometimes in full; sometimes in their natural tempo, sometimes augmented, and sometimes diminuted. Have a little fun trying to spot them. Truthfully, even I am not exactly sure where they all appear since I was working almost at a subconscious level throughout the composition of much of this.
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