Work on the newly commissioned Peanuts Concerto has proceeded smoothly, and Dick Tunney has kindly paused on occasion, in order to keep us up to date. (Read about the genesis of this project here.)
When last Dick checked in, he reported being “almost finished” with the second (Christmas) movement. “I did finish the piano portion, and sent it to Jeffrey [Biegel],” he said. “Lots of exclamation points and thumbs up from him.”
As of this moment, the piece’s premiere is scheduled for March 2019, “but there could well be a prior performance,” Dick adds, “depending on when the work is completed and ready for the stage.”
I was curious about his decision to begin with the middle movement (having naively assumed that one works on such a project from start to finish). He kindly sent a marvelously detailed reply, and I’ll turn the rest of this post over to him:
I began with this movement because I’m most familiar with the songs in the Christmas special. As I get to the end of this concerto, there will be times when I’ll be slogging my way through, and I never want to be doing that at the beginning of a project. Pace and momentum tend to keep my interest up; once I get a good bit of a piece under my belt, it’s always nice to look back and see the progress made.
The plan to have a Christmas movement was there from the beginning, and building it to be a pull-out/stand-alone movement also was present from the outset. Placing it in the middle of the concerto probably is 90% in stone at this point, but I’m not ready for the cement to harden on that idea.
The previous concerto that I did stayed pretty closely to typical concert form for a three-movement work: fast/slow/fast. As it stands right now, the Christmas movement isn’t exclusively slow. The anchor (of course!) is “Linus and Lucy,” which will appear in some form or fashion as a theme — or theme fragment — in each of the three movements.