Piano Concerto (Grieg)

The Piano Concerto in A minor, Op 16 is the only concert by the Norwegian composer Edvard Grieg, which he has completed.

History

Even while studying at the Conservatory in Leipzig he heard about 1858 Clara Schumann, the A minor Concerto of her husband play, and was inspired. The concert of Grieg was born in Søllerød, Denmark, where Grieg was with his fiancee Nina Hagerup on vacation. It was composed in 1868 and premiered on April 3, 1869 in Copenhagen. The soloist was Edmund Neupert.

After Grieg has at least seven times made ​​arrangements to met until 1907. As Grieg Franz Liszt in 1870 in Rome, this played the concert and was very excited about it, however, Grieg made ​​some compositional suggestions. It was first published in 1872.

Instrumentation

Two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones and timpani, solo instrument and strings.

About the Music

Edvard Grieg admirers was Robert Schumann. So his Piano Concerto is also similar to Schumann's Piano Concerto in A minor, Op 54, and has with him the key of A minor.

Furthermore, Grieg was inspired in the composition of the Norwegian Spring Halling dance whose rhythm occurs in the first and in the third set.

First Set

The first movement is a short Allegro molto moderato. Formally, it is constructed according to the sonata form. However, the introductory orchestral prelude that introduces the two topics covered, as was usual in the classical and can be found two piano concertos also at Chopin away. The orchestral prelude is rather reduced to a Paukencrescendo after the piano enters, similar to the Piano Concerto in A minor by Robert Schumann with cascading A minor triads. With the onset of the orchestra in T.7 the exposure of the sentence begins with the presentation of the first theme. This first march-like theme, performed by the woodwinds and horns, will continue until the final chords T.18. With T.19, the piano begins with the repetition of the first theme exactly as the orchestra has presented it. Then ( T.31 ) follows a passage with cascading chords in the piano with proposals that are repeated twice and eventually lead to a chromatic Terztonleiter directly into a final group of the first theme, a short duet between piano and oboe playing the echo. An ascending arpeggio in the piano leads into the second theme ( T.48 )

With its quiet and vastness, it is the perfect contrast to the marching first topic. Again, the theme is only played by the orchestra and the soloist repeats (from T.53 ). There will be a continuation to the increasing trill in the right hand of the solo part and the following orchestral interlude at the same time the final group. The implementation relies on the first theme in the flute and horn, they are each accompanied by arpeggios in the piano. Two startups need this tune to the piano at the third time ( T.101 ) has tipped with a big arpeggio the mood. Almost angry now also appears on the first theme in the brass. The piano continues again and the latest with the chord falls in stroke 110 it is clear that the recapitulation is approaching.

The recapitulation begins in measure 117 with the piano, the presentation by the orchestra falls away. It balances at the beginning exactly the exposure only in the passage of the above-mentioned cascading chords with the proposals (now T.129 ) it takes a turn, so that the final group of the first theme with the duet between piano and oboe ( T. 141) now appearing in D major, matching the key of the second theme that follows in A Major, also indicated by a sign change ( T. 147). This theme is similar to continue as in the exposition and brought to a double trill. In five bars, the orchestra now heads over to the solo cadenza. This takes in its central part ( T. 177) on the first topic, even after a chromatic departure is again the first theme heard in T. 187. Towards the end of the cadenza it is strong and the dynamic climax of the final trill can expect the strong onset of the orchestra. Instead, the trill softly fades away and the orchestra begins quietly. Again in the coda change the tempo ( T. 210) and a new theme in the oboe and bassoon appears, the piano takes the issue briefly, but increases up to the cascading chords as in the beginning, and with powerful A minor chords ends the sentence.

Second sentence

The second movement is an Adagio. The strings set at the beginning of the second sentence in detail a dreamy melody, in the finally, the wind took the floor. The piano responds with his own ideas. Piano and orchestra will now enter into a dialogue until finally the piano repeats the initial string theme of this set on stronger way. There now follows again a calmer dialogue between piano and orchestra. After a few accompanied by the horn trills the piano concludes the movement.

Third set

The third movement is named Allegro moderato molto e marcato. After a short gentle but firm introduction by the woodwinds take over the piano and introduces the rhythmic main theme of the movement. After a brief response of the orchestra, the piano continues to develop his theme until after a dialogue between piano and strings orchestra report back to word and is supported by the trombones. Here again engages the piano in order to vary his subject, a project that is led by the orchestra to an end. The solo flute responds with its own melody, which is supported by more and more instruments. The piano repeats the melody of the flute to her accompanied by the strings to vary. As after temporary calm returns, the piano his main theme of this movement picks up again, to develop it in dialogue with the orchestra. After an orchestral tutti the piano begrudge a short break, to piano and orchestra outdo each other is to complete the concert solemnly.

Effect

1885 Hugo Wolf considered the work just good enough " Brillenschlangen to lull into dreams, or to create rhythmic feelings in trained bear ," and said: " - in the concert hall, it is not good ." However, the posterity does not share this opinion: Even at its premiere Grieg's Piano Concerto was a great success and is now one of the most popular piano concertos.

Audio files

The University of Washington Symphony Orchestra (Seattle ) under the baton of Peter Erős with Neal O'Doan, piano. Courtesy of Musopen.

1 set ( file? )

2nd set ( file? )

3rd set ( file? )