Piano Concerto No. 1 (Chopin)

Frédéric Chopin composed the Piano Concerto No. 1, Op 11 in E minor at the age of 20 years. He devoted it Friedrich Kalkbrenner and brought it on 11 October 1830 - on the eve of the November Uprising - Warsaw premiered. He spoke of " lively bravos ."

Background

Chopin's two piano concertos, which were created about the same time in F minor, Op 21, and his Opus 11. It is well established that the Concerto in F minor is actually been his First Piano Concerto, No. 1 thus his second. Why were published, however, in reverse order, is not fully understood. It is believed that Chopin, in 1830 his final stay in Paris took, there has offered some of his works, including just the two concerts, a publisher of this but due to the high degree of difficulty of the pieces for "home use " of lovers musicians were not suitable, only only one, namely accepted the Concerto in E minor.

The question of whether Chopin made ​​the orchestration of his piano concertos itself is not answered. That Chopin composed almost exclusively for the piano and has always been known for his passion for the instrument, however, is not a reason to doubt. He mastered the orchestration, although not in the perfection of other composers who have dedicated themselves to orchestral works. However, showing his orchestration of the concerts that he looked at the role of the orchestra rather than a decorative accessory. It may initiate, conduct and play on the final passages, but where the piano has made ​​its appearance, it is withdrawn and reduced to a narrow accompaniment of the solo instrument. Unlike the concerts of Viennese classicism and also in many romantic concertos Chopin has provided almost no dialogue between the solo instrument and orchestra, they change usually only from.

The header record

Chopin followed in the formal system of the first set the example of the brilliant virtuoso concert as he could get to know it, for example, with Jan Ladislav Dusík and Johann Nepomuk Hummel. There he was neither a dialectical counter - and co-existence of soloist and orchestra as with Beethoven, still a kind of symphonic concert with a weaving of piano and orchestra as in approaches to Carl Maria von Weber. The Soloist and the presentation of its expression and technical skills are in Chopin in the foreground.

The first movement of the E minor Concerto has three themes that are exposed by the orchestra. From the piano the first topic is briefly taken up (cycle 139 ), but the same ( clock 155 ) into the lyrical second theme in E Minor, whose melody is counterpoint in the bass from the head motive of the first theme. Also in E major for the first two issues stood in opposition end third, also lyrical theme (bar 222) is taken from the piano. The development begins in bar 385, the piano comes back on the second theme and develops it further. In the following, but it is as well as the second theme completely neglected by conducting relation. Essentially, it is only a shortened motif of the first theme, which is played by the orchestra in a modified form, while capricious and technically challenging runs and figures have to be managed in the piano part. The recapitulation begins in measure 486 again with the orchestra and its opening theme. In the cadenza, the concert give their bass trill in the left hand a dark paint, the whole skill of a pianist is required.

The second sentence

E major, B major and G major, determine the basic nature of this romance. A dramatically decisive middle section in C sharp minor contrasts with the melodious song themes that recur several times and can be varied. Chopin leads before its glitzy, but never exuberant ornamentation that give the rhythmically free, dolcissimo, leggierissimo and legatissimo, but also con forza and veloce presented Ornamentalmelodien a brilliant shine. The relationship to the composed later Nocturnes is great. Appeals found, for example in the Nocturne, Op 32, No. 1 in B major. There, the mood is broken by a sudden entering recitative coda, here in the Romance by the attacca subsequent Rondo.

The third set

The consistently vivace put forward, rousing Rondo uses stylized folk music. Especially the rondo theme itself is modeled by Krakowiak melodies. His syncopated rhythm in the beginning 2/4-cycle also runs through the entire thematic material of the movement. This Rondo offers the soloist opportunity, full of playfulness in rapid passages and effervescent scenes, sometimes in dialogue with the orchestra to show off his pianistic skills. The dramatic escalation in the coda is the great end of the concert.

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