Concerto for Group and Orchestra is a live album by Deep Purple and the Royal Philharmonic Orchestra conducted by Malcolm Arnold, recorded at the Royal Albert Hall, London, in September 1969. It consists of a concerto composed by Jon Lord, with lyrics written by Ian Gillan. This is the first full length album to feature Ian Gillan on vocals and Roger Glover on bass. It was released on vinyl in December 1969. The original performance included three additional Deep Purple songs, "Hush", "Wring That Neck", and "Child in Time"; these were included on a 2002 release. This was the last Deep Purple album distributed in the US by Tetragrammaton Records, which went defunct shortly after.
The original score for the concerto was lost in 1970; however, it was performed again in 1999 with a recreated score, and has been performed several times since.
"Concerto for Group and Orchestra" (Jon Lord (with lyrics by Ian Gillan) • First Movement: Moderato – Allegro (19:23) • Second Movement: Andante (19:11) • Third Movement: Vivace – Presto (13:09))
Deep Purple with The Royal Philharmonic Orchestra
51:43
6.
"Parts of the Concerto's "Third Movement" (Given as an encore.)
Concerto for Group and Orchestra is split into three movements.[1]
First movement (Moderato – Allegro)
After an extended orchestral introduction, the group and orchestra work as separate blocks, trying to get dominance over the main theme and working as antagonists to each other. There are cadenzas for electric guitar and clarinet.
Second movement (Andante), with lyrics sung by Ian Gillan
This movement is based around two tunes that are played in various different arrangements by the orchestra and the group, individually and together. After a combined pop / blues version of the second tune, there is an organ cadenza followed by a quiet ending by the orchestra.
Third movement (Vivace – Presto)
Apart from Ian Paice's drum solo, the music combines the orchestra and group together in a "free for all". The movement alternates between 6/8 and 2/4 time signatures.
Concerto for Group and Orchestra was released on vinyl in December 1969 in the United States (Tetragrammaton) and in January 1970 in the United Kingdom (Harvest). These releases contained only the "Concerto", with the second movement broken in two-halves. Copies of the original US editions are rare as Tetragrammaton went bankrupt while the album was still being issued. In the following year, the Concerto became the only Tetragrammaton release to be reissued by Warner Bros., Deep Purple's new US label. On 4 April 1970 the Concerto was shown on British television as The Best of Both Worlds.[citation needed]
The 1990s saw a CD release including the songs "Wring That Neck" and "Child in Time". In 2002 EMI released special edition DVD-A, SACD and two-CD sets of Concerto for Group and Orchestra, featuring the entire programme of music played that night. In 2003 a video recording of this concert was released on DVD. However, four and a half minutes of the 1st Movement are missing in this video, as it was taken straight from the BBC's 4 April 1970 broadcast of the event (see above). The edit was in the original BBC broadcast.
On 25 and 26 September 1999, thirty years after its initial performance, the Concerto was again performed in front of a live audience in the Royal Albert Hall. To make this performance possible, a new score was created by Lord with the assistance of Paul Mann and Marco de Goeij by listening to the recording and watching the video of the 1969 performance.[2] Performers were:
Encouraged by the success of the 1999 performances, Deep Purple took the Concerto on tour, first performing it in South America with local orchestras, then in Europe with the George Enescu Philharmonic Orchestra, in Japan with the New Japan Philharmonic Orchestra, all conducted by Paul Mann.
40th anniversary performance
On 24 September 2009 Jon Lord joined the RTÉ Concerto Orchestra in the National Concert Hall, Dublin, Ireland to celebrate the 40th anniversary of the first performance of Concerto for Group and Orchestra.[3][4] Also performed, were pieces from Jon Lord's solo career and a number of Deep Purple songs including an orchestral version of Child In Time.[3]
Further performances
The score of the concerto having been recreated, groups and orchestras across the world were free to perform it:
Jon Lord with singers Doogie White and Kasia Łaska, Darin Vasilev (guitar), Ivaylo Zvezdomirov (bass), Venko Poromanski (drums) and Plovdiv Philharmonic Orchestra conducted by Nayden Todorov
Jon Lord with singers Steve Balsamo, Kasia Łaska and Patrick Rondat (guitar), Patrice Guers (bass), Steve White (drums) and the Orchestre Symphonique de Mulhouse. Musical direction by Gwennolé Rufet.
50th anniversary performance and Canadian premiere featuring Iron Maiden lead singer Bruce Dickinson, The Paul Deslauriers Band and the Orchestre Symphonique de Québec. Musical direction by Paul Mann.
Hungarian premiere featuring Iron Maiden lead singer Bruce Dickinson, Deep Purple bassist Roger Glover, and the Győr Philharmonic Orchestra. Musical Direction by Paul Mann.
2012 studio version
In October 2012 a studio version of the Concerto for Group and Orchestra was released. The recording features the Royal Liverpool Philharmonic Orchestra conducted by Paul Mann. The soloists are Jon Lord (organ), Darin Vasilev (guitar in the 1st movement), Joe Bonamassa (guitar in the 2nd movement), Steve Morse (guitar in the 3rd movement), Steve Balsamo, Kasia Łaska, and Bruce Dickinson (vocals), Brett Morgan (drums), and Guy Pratt (bass). The orchestral parts were recorded at the Philharmonic Hall, Liverpool on 1 and 2 June 2011. The band parts were recorded in August and October 2011 and also in May 2012. The album was mixed at Abbey Road Studios in late May 2012. According to Paul Mann, Jon Lord heard the final master of the recording a few days before his death on 16 July 2012.
In an interview for hospital radio in Huddersfield in 1970, shortly after the Royal Albert Hall performance, Arnold provided a positive take on the experience:[7]
What strikes me about Deep Purple is their tremendous musical integrity. This is so refreshing in a commercial world. I loved working with them. They're thorough musicians. They're not trying to prove anything. They just like to play now and again with a Symphony Orchestra. They're not trying to prove any deep philosophical problem. They just want to write music that's enjoyable.
I was not into classical music then. I was very very moody and just wanted to play very very loudly and jump around a lot. I couldn't believe we were playing with orchestras. We kept getting lumbered playing with them. We started off in '68 – this is my opinion – as a relatively competent band with a lot to say but saying it all at the same time as each other. In '69 we went into the classical stuff because it was Jon Lord's big thing to write a concerto for group and orchestra. He was very sincere, but I didn't like playing it or respect the fact that we were doing it. The orchestra was very condescending towards us, and I didn't like playing with them, so it was one big calamity onstage. But Jon was happy with it and management was happy with it because we had a press angle, which I resented very much.
In 1970 I said, 'right, we're going to make a rock and roll LP. If this doesn't succeed I'll play in orchestras for the rest of my life', because Jon wasn't too into hard rock. Luckily it took off, so I didn't have to play with orchestras any more.
I love orchestras, chamber music – unaccompanied violin is my favourite. But I respected them too much, and we just weren't in the same calibre. I'd been playing 15 years at the time, and stuck next to some dedicated violinist who's been playing for 50 years just to give an angle to the press – it's insulting. That's why it started and ended very abruptly.
Legacy
The cover art of the Swedish heavy metal band Opeth's 2010 concert DVD In Live Concert at the Royal Albert Hall is intentionally similar in layout, colour and motive to that of Deep Purple's Concerto for Group and Orchestra, "underlining Opeth's longstanding love for their prog-rock roots".[9]
