Kalkbrenner - Piano Concerto No. 1 in D Minor

Friedrich Kalkbrenner is a name run across whenever early 19th century pianists are discussed. He was German, evidently a charismatic performer as well as a teacher, writer, and piano manufacturer. He lived most of his life outside of Germany, in England and France. He wrote a method of piano playing that was popular until the end of the 19th century.

Chopin fell under his spell when he first came to Paris in 1830, and came close to taking lessons with him. Kalkbrenner told Chopin he would have to study for three years and give up performing during that time.  This and the fact that Mendelssohn told Chopin it would be a mistake to study with Kalkbrenner because he already played better than he did, persuaded Chopin to decline.

He was a child prodigy; playing a Haydn concerto by the time he was eight. He also could speak four languages by that time. He grew to be a very good businessman as well as musician, for he was one of the very few piano virtuosos of the time to amass a large fortune.  While in London he used a contraption called the chiroplast to restrict hand movements while practicing the piano, and although he didn't invent the machine his business sense helped him to market it and it became a popular item. He teamed up with the inventor of the machine and opened a piano school that utilized the machine.

When on tour in 1823-1824 in Austria and Germany he was wildly popular.  He settled in Paris in 1825 as a teacher and piano manufacturer. He was at the apex of his popularity about 1836, after which his fame slowly decreased. By then he was quite wealthy, and as he was known for his vain snobbery he entertained and moved in the higher circles of Parisian society until his death from cholera in 1849.

I. Allegro Maestoso - There are many ways composers have dealt with the concerto form. Some concertos are balanced between orchestra and soloist. Others are more like symphonies for piano and orchestra (with some named as such), and many concertos were virtuoso display pieces for the soloist with the orchestra playing a decidedly secondary role. It is to this former category that Kalkbrenner’s concerto belongs. Once the soloist enters, there is hardly a bar where it can’t be heard in chords, runs of double notes, and all other types of virtuoso device. As Kalkbrenner wrote all his concertos for his own benefit as a performer, his technique was truly admirable, if not always his musical taste.

His first piano concerto, written 1823, begins with the orchestra playing an exposition before the soloist enters and elaborates on the material in usual double exposition concerto form. With the piano in the forefront as the orchestra accompanying with washes of color, there is reason to believe that Chopin used Kalkbrenner’s concertos as models for his own. In some aspects they are similar, but for actual musical content, Chopin wins the prize.  But Kalkbrenner’s music has a period charm to it.

II. Adagio di molto - The second movement has the piano remaining in the spotlight as it plays the theme simply to start, then gets more and more with runs in thirds and more virtuosity, especially in the upper range of the piano.

III. Rondo - Vivace - The third movement is a sprightly rondo with theme thrown out by the piano with the orchestra keeping to an accompanying role. Once again, the piano part glistens and dazzles. With his virtuoso technique and flare for putting the piano in its best light, it is no wonder Kalkbrenner was so popular. But as with most music that was popular, it soon fell out of fashion.  With the recent interest in historical performance and lesser-known composers, Kalkbrenner has been rediscovered, and his spot in the history and evolution of piano technique are assured.