Well… I have written a piano concerto and loosely orchestrated it, but this is the piano reduction. Recording from a recent event, yeah I know it’s a bit self-indulgent to programme it, but nobody else is going to play it!
Cutting a long story short, basically somewhere between da rock and Hollywood, a bit of Chopin for the sl*w movement and then Dies Irae / Totentanzish stuff, returning to the initial thematic material.
app.box.com/s/3z8pq5aa8q10p45vmdm1prkobfwhg1py
(c. 22 min)
Umm, somewhat bump-y of moi, especially as it was part of my improvz album thread, but I’ve been posting this on every piano forum going recently so why not here 
Ignore the above link, this is much better audio quality, and with sheet music. Live rec, though with minor fuckupz.
I suspect this is going to be a part of my work in the next year, both in that I want to programme it in recitals, plus I need to finish orchestration and perhaps even render even a synth version (let’s face it, I’m not going to get an orchestra without extreme luck); also a third party is trying to interest a publisher.
Rezpec! I saw this on 88ztreet, enjoyed it a lot
I love how unabashed it is, doesn’t shy away from being a thoroughly red-blooded romantic piece, a lot of great ideas in it and I like how the piano writing is often Thalbergian - ie early 19th century , mixed with turn of the 20th century harmonies. Bortkiewicz seemed to shy away from writing as showy as this 
It’s borderline pastiche, in that there are a lot of places where I can say “this passage is influenced by piece x”, but it’s an attempt to write an ultra-romantic concerto on my terms, no compromises, and not listen to someone else’s 
it’s probably fairly apparent, for example, that I’m rather fond of the Totentanz, whilst indeed I have used a bit of Thalbergian trickery in trying to maximise textures.
The solo piano part is pushing it a bit in places, as it’s a synthesis of both piano and orchestra, and I dropped a few bits during the performance. An orchestra would definitely add extra colour (plus give the soloist a bit of breathing space); for a not absolutely full size concert grand I thought the 88 did rather well.