Piano Concerto No. 2 (Saint-Saëns)

The Piano Concerto No. 2 in G minor, Op 22, is a work for piano and orchestra by French composer Camille Saint- Saëns.

Formation

The occasion for the composition of the second piano concerto was a concert by the Russian pianist Anton Rubinstein. This planned in May 1868 to give a concert as a conductor in Paris and asked his friend Saint- Saëns, to compose a work for this. The French composer wrote then the second piano concerto in just 17 days and played in the first performance on May 13 in Paris, the piano part. Despite these short development time the work has a high compositional value and represents a high point in the composer's creative Represents the work is Madame A. de Villers dedicated.

About the Music

Occupation

Solo piano, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings

1st movement: Andante sostenuto

The first movement begins, unusually, with an extensive and highly virtuosic cadenza the piano. Herein, the main thematic material of the sentence is already included. The orchestra then sets a strikingly with some Tutti shock. Well heard the rapturous main theme, which is also marked by great turmoil. Again and again interrupt whirling orchestral and piano interjections topics lecture. Then, the topic will be expanded in the same duct with new melodic ideas. The piano is now developing brilliantly another basic ideas which initially consists of a passage of falling scales and, supported by the drums, builds to a virtuoso climax. The main theme, magnificently sung by the whole orchestra to piano accompaniment appears on this again. Now again follows an extended solo passage of the piano, which, however, a little more subdued than the cadence at the beginning of the sentence acts. The happening now engages, still dominated by the solo piano, the theme of the set -launch again and can fade away the impressive set with some blows of Tutti Orchestra.

2nd movement: Allegro scherzando

Due to the andante tempo of the main clause, the second set of this show is not slow, but a scherzo - set. The beginning of this scherzo scurries by ghostly and expressed by the piano in the piano. A surprising change of pace established a first pre- rendered by the cello waltz theme. However, it quickly sits back down through the scherzo, which is now presented in a minor modification. The event still attracts a while over eerie, before some quiet chords bring to gentle drumbeats to a sudden end.

3rd movement: Presto

The finale begins with a quick and presented in Forte theme of the solo piano, after an introductory clock which consists of a fast rotating figure of the piano and in the course of the movement remains an important motive. Again calls Saint -Saens ' utmost virtuosity from the pianist. The orchestra takes over the rapid rotational figure, before the piano in the piano repeats the main theme on woodwind chords. Then the solo instrument with fast and sparkling accompaniment figures accompanied by a slow theme in the orchestra, which consists only of a few chords basically lazy. A Tutti shock leads back to the main topic. Towards the end of the sentence repeats the piano some stomping, almost violent sounding chords, punctuated by own virtuosic outbursts.

Effect

The first performance of the Piano Concerto on May 13, 1868 in Paris became a failure. Saint- Saëns, who took over the piano part, admits to have not had enough time to rehearse the concert, as it was created in just 17 days. Among the audience in Paris, however, was Franz Liszt, who recognized the qualities of the work, and Saint- Saëns encouraged to continue to perform the work, which soon enjoyed growing popularity. Some years later, Georges Bizet arranged the work for piano solo, in order to perform the virtuosic works well to solo recitals can.

The second piano concerto is now the most popular and most played Piano Concerto by Saint-Saëns. The work requires a high degree of virtuosity and precision, and thus a high level of technical skill from the pianist. It is often heard in the concert halls of the world.