Prokofiev - Piano Concerto No. 1 In D-flat Major

Sergei Prokofiev was one of the original Russian 'bad boys' of music.  His early compositions were fraught with dissonance and did not sit well with the musical establishment. But there was something more to his music than just noise and cacophony. He used dissonance as a great chef uses seasonings. He could be bold and innovative, and he could also be very subtle and subdued. He had a great gift of melody, and was highly imaginative.

He was born in 1892 and heard his mother play the works of Beethoven and Chopin in his early childhood. After studying privately with Reinhold Gliere, he was introduced to Alexander Glazunov who was so impressed by some of Prokofiev's compositions that he persuaded his mother to enroll him at the St. Petersburg Conservatory at the age of 12.

He wrote in most genres of music; opera, symphony, ballet, but he is most well -known for his compositions for piano. He was a virtuoso pianist himself and debuted his first 3 piano concertos as soloist with orchestra.  The 1^st piano concerto was written in 1911-1912, and was received almost unanimous negativity.  It is in one movement, but has three distinct sections as a conventional concerto. But Prokofiev suggested that it could be looked at as written in a one-movement sonata form:

I. Allegro brioso - The first section is similar to the exposition section of a sonata movement. Strings and brass by way of introduction herald the beginning of the movement with three chords of D-flat major. The soloist appears and the broad main theme is played with full orchestra. The orchestra then plays the theme without the soloist. The key signature changes and the soloist alone for a time in music that is typical of his style that was already formed at 19 years old. Driving rhythm, large leaps up the and down the keyboard and a tendency to treat the piano as a percussive instrument. This leads to another spiky theme for the piano with accompaniment. The theme continues as the key changes back to D-flat major, and switches back and forth in key until the music slows and the key changes to E minor.  

To the melancholy theme played in the orchestra, the piano adds a more subdued accompaniment in single notes for both hands that range from high to low on the keyboard, to the melancholy theme played in the orchestra. Piano glissandos that are usually used for more dramatic effect by composers appear in the background. The piano then plays a solo section that leads to the tempo being gradually increased as instruments make an entrance along the way to increase the tension and drive, until the opening broad theme reappears in the orchestra. After a climax is reached, the music slowly winds down and ends with lone notes by the cellos. After a very brief pause, the next section begins.

II. Andante assai - This part is considered an insertion or episode between exposition and development. The key changes to G-sharp minor as muted and divided strings softly begin the section. Short motifs are played by the clarinet and horn until the soloist enters. The piano is much more subdued as Prokofiev gives the instruction of dolcissimo, but it isn’t quite tamed completely. Large spread chords punctuate the delicate 16^th note accompaniment in a piano solo.  The music grows more impassioned and gets louder as the piano large chords against the strings. Slowly orchestra and piano grow quiet until the flutes, clarinets, horns and strings fade out to leave only the piano to end the section.

III. Allegro scherzando - This section comprises the development and recapitulation of a sonata form movement.  The key changes, perhaps to C major at least by having no sharps or flats in the signature, but pizzicato strings, horns and tubas play a strange chord that consists of A-flat in the bass, G-flat - C - E - G natural. The piano trips upward in a chromatic scale with added grace notes, as the music becomes hard driving again.  A secondary theme from the first section appears in the trumpets and horns. The piano then takes this theme and develops it solo. The melancholy theme from the first section then returns briefly. The music grows in texture and volume until the main theme from the first section enters and serves the function of a recapitulation. The music ends as it began, with a chord of D-flat major.