Liszt - Piano Concerto No. 2 In A Major

Franz Liszt's 2nd Piano Concerto was published in 1863, but sketches for the work went back as far as 1839 when he was still touring Europe as a piano virtuoso.  During the intervening years between the initial ideas for the concerto and the final version, Liszt had retired from the concert platform and accepted the  directorship of music at the Wiemar court where he gained experience not only as a composer, but as an orchestral conductor.

A comparison between the 1st Piano Concerto In E-flat Major  and the 2nd Concerto Piano Concerto In A Major show how Liszt had changed as a composer and an artist. While the solo part for the 1st Piano Concerto is overtly virtuosic, the difficulties in the solo part of the 2nd Concerto are not as obvious. While both concertos are played without a break, the first nonetheless falls into four distinct sections, while the seams are not quite so obvious in the 2nd concerto. Liszt attempted to integrate piano and orchestra even more in the 2nd than the 1st concerto, and used the Concerto Symphonique compositions of Henry Litolff as models.  Liszt was well acquainted with Litolff's works for piano and orchestra, and also knew Litolff personally. Liszt dedicated the 1st Piano Concerto to Litolff, and wrote Concerto Symphonique on the manuscript of the 2nd Piano Concerto.

The late music critic Michael Steinberg summed up the difference between the 1st and 2nd piano concertos when he wrote :

The Concerto No. 1 is an octaves-and-glitter piece with small poetic ambition. The Concerto No. 2 is another matter. Liszt is sparing with devices guaranteed to bring down the house...even more important is the pervasiveness of a manner, a tone, that asks listeners for concentrated attention and delicacy of response. An expert keyboard athlete can make a go of the First Concerto. The Second Concerto is for poets...

The 2nd Piano Concerto is in one continuous movement that contains six sections:

I. Adagio sostenuto assai - The primary theme of the entire work is heard directly from the woodwinds in a quiet progression of chords. After the clarinet plays the theme, the piano accompanies the strings in presenting the theme. Liszt immediately begins to embellish and transform the theme in the solo part, as other secondary themes appear, sometimes in the piano, sometimes in the orchestra. The piano makes a run to the depths of the piano's range in a short solo that leads to another variant of the main theme. The give and take between piano and orchestra continues and leads directly to the next section.

II. Allegro agitato assai - A scherzo that has Liszt going far away from the home key of A major. A variant of the main theme leads to the next section.

III. Allegro moderato -  The main theme is taken up by the cello with piano accompaniment in this lyrical section. The piano trades off with the cello woodwinds in music that sings in a mellow mood.

IV. Allegro deciso - The transformation of the main theme continues, and other secondary themes reappear, also in different guises. A short transition leads the way to the next section

V. Marziale un poco meno allegro -  The main theme is transformed into a march. The strongly rhythmic variant serves to bring the music back to the home key of A major. After the march the transformations continue and lead to the final section.

VI. Allegro animato - A coda to the concerto, the piano and orchestra continue their partnership as the music changes in mood and character. Glissandos in the solo part punctuate the unbuttoned joy of the final comments on the main theme and a few secondary ones. The orchestra and soloist play passages that lead to the final chords.

Handel - Organ Concerto In D Minor Opus 7, No. 4 HWV 309

George Handel's Opus 7 set of six organ concertos was published after Handel's death by his publisher John Walsh of London.  Whether Handel intended to publish them isn't known, but Walsh wanted to capitalize on Handel's reputation as soon as he could, for in those times music was a commodity that had a very short shelf life. Audiences not only expected but demanded new music, and a lot of it. The fickle public could turn its back on a composer soon enough when they were still alive, even sooner after their death.  Music publishers of the time could be notorious in their efforts to turn a quick profit on a composer's works. There was no copyright laws, and publishers thought nothing of printing editions of music that they never paid the composer for.

Walsh may have pieced together some of the concertos from Handel's other compositions, but Handel himself did this as well, as did many composers of the time. The music used in the six concertos was written roughly between 1738 and 1751.

Handel wrote the concertos for a specific purpose; as entertainment for the audiences of his operas and oratorios during intermissions. These concertos were used as drawing cards, kind of an extra bonus to entice listeners to attend the opera or oratorio.  An advertisement for a Handel oratorio concert that ran in the London Daily Post on the 5th of March 1735 made mention of the performance of two concertos:

At the Theatre-Royal in Covent Garden, this present Wednesday .... will be perform’d an Oratorio, call’d Aesther. With several New Additional Songs; likewise two new Concertos on the Organ.

Handel was a virtuoso organist, and his powers of improvisation were put to good use, as he would sketch out the orchestral parts in score and improvise much of the organ part. The concerto is in the form of a sonata chiesa and has four movements:

Adagio - The first movement begins with the orchestra playing a slow, noble theme. The soloist enters and comments on the theme with the strings providing a light, occassional accompaniment.
Allegro -  Handel follows the pattern of a sonata chiesa as the next movement is quicker of tempo and lighter in mood.
Adagio (Organo ad libitum) - Handel did not notate any music for this movement, but left the entire third movement to improvisations from the organist, which would have been Handel himself when these concertos were first played.
Allegro - A favorite of Handel's for he first used the tune in a concerto for violin over twenty years prior.

Beethoven - Triple Concerto In C Major

The tradition of the Baroque concerto grosso, a form where a small group of soloists were juxtaposed with the orchestra, was carried on into the Classical era by composers, most notably Mozart. He wrote works for more than one soloist and orchestra and called them Sinfonia Concertante.  These works were considered a sort of hybrid between a symphony and concerto, but the main difference was that the Baroque concerto grosso had some movements written in ritornello form while the sinfonia concertante used sonata form. Beethoven's Triple Concerto (also known as Concerto For Violin, Cello, Piano and Orchestra) was written in 1803 (also the year in which he composed the Third Symphony).

Anton Schindler, Beethoven's first biographer, secretary and acquaintance, claimed that the Triple Concerto was written for Beethoven's young royal pupil Archduke Rudolf (the same Archduke that Beethoven dedicated his Piano Trio In B-flat Major, Opus 97 to). The piano part of the concerto does not equal the difficulty of the other soloists, a fact that has lead some to agree with Schindler, as the Ardchduke was a young teenager when the concerto was written and would not have had the technique for anything more difficult.  But Beethoven scholars have shown over the years that Schindler was a man whose words needed to be taken with a grain of salt. There is no evidence that the Archduke ever played the work (which is not to say that he didn't) which had its first public performance in 1808. When it was published, the concerto had a dedication to someone else, another one of Beethoven's royal patrons, Prince Lobkowitz, but Beethoven could be fickle (not to mention absentminded) about such things. The concerto is in three movements:

I. Allegro -  The concerto begins quietly and gradually builds in volume.  There are three main themes introduced by the orchestra alone. The cello is the first soloist to enter with the first theme. Violin and cello expand upon the first theme, and the piano enters with the theme.  Each of the soloists has a turn with the three themes, or parts of them. The development gives the trio of soloists further opportunity to dialogue with each other.  The orchestra asserts itself a few times but for the most part remains in the background.  The recapitulation has the soloists review the themes, which leads to a coda that quickens the tempo and while the orchestra plays full chords the soloists bring the movement to a close.

II. Largo -  The orchestra begins this movement (in the key of A-flat major) in a solemn, quiet mood. The cello enters with the theme of the movement, the piano embellishes it. The violin and cello play the theme in a duet as the piano gently accompanies. A short, dark section for orchestra leads to the soloists playing fragments of other themes, which leads to the last movement without pause.

III.  Rondo alla polacca -  As with the first two movements, the cello is the first soloist to play the main theme of this movement which is in the style of a polonaise, a Polish dance. Themes abound in this movement, all of them rhythmically in keeping with the 'polacca' designation. The music takes a minor key turn as the soloists take turns playing thematic material and accompaniment while the orchestra adds color. The polonaise returns, has its say until the tempo quickens.  The soloists play together without the orchestra, and then the soloists wind up the movement by playing rapid figures as the orchestra supplies the punctuation until the end.

Writing for three soloists offered Beethoven many challenges, not least of which was how to have each soloist shine without making the work too long or undermining form. Compared to the 'Waldstein' and 'Appassionata' piano sonatas  and the Third Symphony that he was composing at about the same time, the Triple Concerto may appear small potatoes to some.  But the Triple Concerto has to be looked at (and heard) in a different way. Beethoven did more than extend the concerto grosso and sinfonia concertante traditions with this work. There is a kind of synthesis between concerto, symphony and chamber music (specifically in  the form of the piano trio). This is a quite remarkable achievement, a showcase of Beethoven's huge talent and craftsmanship that's hardly small potatoes.



  

Mozart - Bassoon Concerto In B-flat Major K. 191/186e

Wolfgang Amadeus Mozart's only existing bassoon concerto was written in 1774 when he was eighteen years old.  He was already an experienced composer with over 25 symphonies, a dozen string quartets and a few Italian operas to his credit, but this was his first attempt at a concerto for woodwinds. Many times composers would write concertos with a specific soloist in mind, so he may have written it for one of the Salzburg orchestra's bassoonists, or possibly a rich amateur bassoonist, but there is no evidence one way or the other.

The bassoon that Mozart wrote for was much different than the modern bassoon in that there were only four or five keys on the instrument, which made some of the semitones and chromatic runs difficult to play in tune.  Mozart understood the instrument very well, as he writes most of the solo part in the singing tenor part of the instrument's range, although he does showcase the rich low notes occasionally.

The solo part is still challenging enough for the instrument that excerpts from the concerto are used as audition material for orchestral tryouts to this day.  The concerto is written for soloist, two oboes, two horns, and the usual compliment of strings. It is in three movements:

I. Allegro -  Mozart shows his mastery of sonata form in the first movement as the orchestra introduces the two themes. The first begins straight away, with the two horns heard prominently. The second theme begins seamlessly after the first and is slightly different in character, after which a short motif leads to the entrance of the soloist, who enters with a decorated version of the first theme. Rapid arpeggios, notes low in the range of the instrument and rapid repeated notes are just a few of the challenges for the soloist.  The second theme also gets expanded by the soloist. A short development section leads to a short bassoon solo before the recapitulation. A cadenza for the soloist leads to the final statement by the orchestra.

II. Andante ma Adagio - The bassoon's flexibility as a singing instrument is showcased in this movement. The unique tempo indication means at a moving pace but slowly, a nuanced instruction for the time.  The strings are muted, the soloist again plays mostly in the tenor range with a few low notes for the sake of expression.

III. Rondo: tempo di menuetto - The movement begins in the form as well as the tempo of a minuet, but when the soloist enters its clear that this is a rondo.  There are two episodes and two short repeats of the minuet before the soloist gets a chance to play the minuet. After a very short solo for the bassoon the orchestra plays the minuet once more and ends the work 

  Mozart .

Bruch - Violin Concerto No. 1 In G Minor

While many concertos for violin were written by virtuoso violinists, the acknowledged masterpieces of the genre were written by non-violinist composers. There are of course exceptions, such as Wieniawski's Violin Concerto No. 2 In D Minor, but the violin concertos of  Beethoven, Mendelssohn, Brahms and Tchaikovsky are the acknowledged masterpieces of the genre. While these composers were not virtuosos of the instrument, often times they had the assistance of violinists who gave them advice on the technical aspects of their works.

Another of the non-violinist composers was Max Bruch, who finished composing his popular Violin Concerto No. 1 in 1866, although the concerto was begun as early as 1857.  Bruch also had a violinist assist him in the technical aspect of the solo part, Johann Naret-Koning, the concertmaster of the Mannheim Orchestra. Bruch conducted the premiere later in 1866, and made substantial revisions to the work shortly thereafter. The violinist who gave Bruch help with the revision was Joseph Joachim, who twelve years later gave advice to Brahms on his violin concerto. Bruch's revised concerto was given its first performance by Joachim,and it was a rousing success. It was not only Bruch's first major composition for orchestra, but was the work that brought him his earliest fame.

As with any exceedingly popular work, the first violin concerto came to overshadow Bruch's other compositions, especially those for violin and orchestra. He composed two more concertos for violin, but neither came close to the popularity of the first. Bruch grew quite vexed about the whole thing, not only from an artistic viewpoint, but because he had sold the work to a publisher for a one-time payment and never reaped any of the benefits of the concertos repeated performances. it is in three movements:

I. Vorspiel: Allegro moderato -  Bruch designates the first movement vorspiel, or prelude. This acts as an extended introduction to the slow movement. The work begins with a quiet roll of the timpani, the orchestra follows with a short section, after which the violin plays a short cadenza. The orchestra and violin alternate like this again. The orchestra then increases in volume and leads to the first theme by the violin. A second theme of a more lyrical nature is played by the violin.  The violin embellishes the first theme, and the orchestra plays a section that recalls the drama of the opening. The music grows more quiet and the orchestra and violin alternate twice as in the beginning. The orchestra once again plays a short interlude that leads to the slow movement without a break.

II. Adagio - This movement has three powerfully romantic themes that are presented by the soloist with a gently moving orchestral accompaniment. The movement builds to a powerful climax after which it reaches a peaceful end. The last movement begins directly after.

III. Finale: Allegro energico -  A short introduction is played by the orchestra before the violin presents the dancing first theme of the finale, which is adorned with multiple stops.  The second theme is begun by the orchestra before it is clarified by the soloist. There is a short development section based on the first theme, which leads to the recapitulation of both themes. In the coda the tempo increases as the first theme returns as the violin plays virtuoso figures and fragments of the first theme before it rises to the top of its range. The movement ends with two brief chords.

Sibelius - Violin Concerto In D Minor

Jean Sibelius is most well known as a conductor and one of the great composers of the 20th century, but in his early years his dream was to be a violin virtuoso. He began to play the piano and violin at a very early age, but didn't commence formal study of the violin until he was sixteen.  He made rapid progress and played in the violin section of a local orchestra, and went on to play in a string quartet.

He continued his studies at the Helsinki Institute and played second violin in the school's string quartet as well

as in the string section of the school orchestra. After Sibelius graduated from the Institute he studied in Berlin for two years and concentrated on composing while still playing chamber music with friends. When he returned to Finland he taught violin for a short time, appeared in concert as a soloist and performed in an orchestra in Helsinki until 1896.  It was about this same year that Sibelius gave up on his dreams for a career as a virtuoso. As Sibelius himself said:

It was a very painful awakening when I had to admit that I had begun my training for the exacting career of a virtuoso too late.

Sibelius continued to play the violin privately for over thirty years until tremors in his hands made him stop.

He started to plan his violin concerto in 1899 (the only concerto Sibelius ever wrote), and completed the work in 1904. Sibelius didn't finish the work soon enough for the soloist to study the solo part in depth, so as a result the first performance was not well received.  The first version of the concerto had one of the most difficult solo violin parts ever written, so Sibelius removed the work and revised it, making it slightly less difficult and more well balanced. The concerto is in three movements:

I. Allegro moderato - The movement begins with almost inaudible figures in the strings. The soloist enters shortly after with the first theme. This theme begins to be developed immediately. The strings enter in a louder section that announces the second theme first sounded in the woodwinds.  The development section leads to an extended cadenza for the soloist before the recapitulation begins. A rapid and dramatic coda tosses out the themes once more before the end of the movement.

II. Adagio di molto - This movement is in B-flat major and begins with a short introduction by the woodwinds which leads to a lyrical theme by the soloist.  The middle section increases the drama of the music, after which the violin begins to sing its theme again. The movement ends in hushed beauty.

III. Allegro ma non tanto -  The movement opens with a rhythmic figure in the bass, and the soloist enters with the first theme. A second theme played by the orchestra sounds like battle music complete with the snarling of muted horns.  Sibelius throws all kinds of technical demands on the soloist throughout the movement, making it not only one of the most recognizable of the violin concerto literature but also one of the most difficult. The movement draws to an end with the full orchestra playing loud staccato chords while the soloist glides up and down the fingerboard.

Sibelius' realization that he was not destined to be a violin virtuoso probably frustrated and disappointed him, which may have came out in his writing for the violin concerto.  He certainly had the practical and technical knowledge of the instrument if not the virtuoso technique, so he may have envisioned himself as the soloist if things would have turned out differently.

Rossini - Introduction, Theme and Variations for Clarinet and Orchestra

Gioachino Rossini is more well known for his operas, some of which have remained in the repertoire since they were written early in the 19th century. By the time Rossini retired from composing for the stage in 1829 when he was thirty eight years old, he was the most well known and popular opera composer in Europe.

Rossini lived until 1868 and composed a few songs, sacred music and a set of pieces in 14 volumes calledSins of My Old Age. But when Rossini began his career as a composer he also wrote a piece for clarinet and orchestra that has been popular with clarinetists and audiences ever since. He wrote Introduction, Theme and Variations for Clarinet and Orchestra when he was 18 years old.

Introduction - Andante - The work begins with a loud call from the orchestra to get the listener's attention (an effect Rossini often used in his opera overtures). The volume recedes as the soloist enters. Rossini treats the clarinet as he would an operatic diva as the clarinet plays a sweet melody. A short crescendo from the orchestra is followed by more virtuosic music from the soloist.

Theme - Allegretto - Rossini's theme is a perky tune that challenges the articulation abilities of the soloist.

Variation I -  Piu mosso - The pace quickens slightly as the clarinet embellishes the theme. A short interlude by the orchestra leads to the next variation.

Variation II - Running sixteenth notes dominate the solo part as the brisk pace is continued. Another short interlude by the orchestra leads to the next variation.

Variation III -  Arpeggios, repeated notes and scales are played by the soloist in this variation as the strings play pizzicato. The interlude from the previous variation is repeated by the orchestra.

Variation IV - Largo minore - Piu mosso - A tempo - The tempo slows as the clarinet plays a soulful version of the theme.  The clarinet's range of expression and volume is showcased by Rossini in this variation. The tempo quickens in an orchestra lead up to the last variation.

Variation V -  There's a lot of notes for the soloist in this last variation as the clarinet plays at break neck speed. The orchestral interlude heard at the end of the 2nd and 3rd variation returns along with more fireworks for the clarinet. The orchestra turns silent as the clarinet plays a cadenza, after which a short coda rounds off  the work with a statement by the orchestra and a rapid scale that ascends to the clarinet's highest register.

There is some debate among musicologists whether Rossini actually composed this piece. Some contend that he wrote the theme and a student wrote the variations.  Whether we shall ever know for sure or not doesn't detract from the music itself.  Whomever composed the piece wrote a sparkling set of variations for the clarinet.