Classical Music | Piano Music

Recorded on 03/01/2001, uploaded on 07/01/2009

Musician's or Publisher's Notes

Chopin wrote only a handful of pieces for piano with orchestra and all those (with the exception of the Andante spianato introduction to the Grande polonaise brilliante, op. 22) before his arrival in Paris in 1831, surprising considering that his output was entirely dominated by the instrument. Among these few works are his two piano concertos, the first in E minor and the second in F minor, composed during 1829-30. This, however, is their published order and even though the E minor Concerto was published first in 1833, it was actually the second to be composed, following swiftly on the heels of the completion of the F minor Concerto. Once the E minor Concerto was completed, Chopin performed it in several “farewell” concerts before leaving his native Poland for Vienna and eventually Paris.

Adhering to Classical tradition, Chopin begins the Concerto in E minor with an extended exposition for the orchestra, delaying for some time the entrance of the soloist. The first theme, of an unusually Classical cut, consists of two ideas—a motif surging upward though the tonic triad followed by a more plaintive melodic line. Quite exceptionally, the second theme, at each of its instances in the double exposition, is announced in the key of E major. When reprised in the recapitulation later in the movement, this theme occurs in the key of G major. In essence, Chopin has here used a key scheme that is backwards from Classical tradition. The development section, as is usual with Chopin’s sonata forms, is intense, drawing on motives from the exposition. At the conclusion of the movement, there is no cadenza per se but a final flourish in the piano leads into the orchestra’s last statement.

The tranquil second movement in E major, labeled a “Romanze,” is the gem of the entire work. A delicate Larghetto, the movement’s principal theme is announced in the piano accompanied only in part by the soft sounds of muted strings. As the melody unfolds, it becomes ever more ornamented, adding to its increasing charm. Only a brief middle section in the relative minor provides of point of contrast to this beautiful middle movement.

The finale begins aggressively with octaves from the entire string section, but only to give way to a playful tune in the piano that becomes the refrain of the movement’s rondo form. Despite this initial lightheartedness, the movement is not without its more serious moments, alternating between the two tempers and leaving the listener to wonder if the seriousness is not really just part of the fun and games. Nevertheless, the finale’s innate liveliness and energy drive the concerto towards its conclusion and in large, sweeping gestures piano and orchestra together bring the piece to a spirited ending.      Joseph DuBose

Live recording