Shostakovich - Concerto For Piano, Trumpet, And Strings In C Minor, Opus 35

Shostakovich was the soloist at the premiere of this 1st Piano Concerto, also known as Concerto For Piano And Trumpet because of the prominent part for the trumpet.  At the premiere, Shostakovich had the trumpet player sit next to the piano instead of with the rest of the orchestra, which is usually done in modern performances as well. The concerto was premiered in 1933, before Shostakovich's first official government censure.  The concerto is in 4 movements:

I. Allegretto - The piano and orchestra toss out the themes in this movement while the trumpet comments on them. The mood of the movement changes quickly. This is some of Shostakovich's most sarcastic, witty and pithy music and it is reminiscent of  the spontaneity of the first symphony. The movement ends with a dialogue with piano and trumpet.

II. Lento - This movement opens with a slow waltz-like melody. The piano enters,  and expands the waltz into a passionate outburst from the piano and orchestra.  After the climax fades, the strings re-enter gently, with the trumpet playing the waltz theme (with none of the sarcasm of the first movement) over the accompaniment of the orchestra.  The piano and orchestra combine for a heart-felt, gentle close to the movement.

III. Moderato - This movement is less than 2 minutes long, and is generally thought to act as an introduction to the final movement. It is played with weight and depth of tone by the strings, but the piano shines through the quasi-seriousness and the music segues into the finale...

IV. Allegro con brio - The tempo increases, the piano chatters away. In this movement the trumpet becomes more prominent, almost on a par with the piano. The music becomes manic in tempo and intensity. Shostakovich was fond of quoting motifs from his and other composers music. This movement makes reference to Haydn, Mahler, a Jewish folk song, and others. The cadenza for solo piano is derived from Beethoven's Rage Over A Lost  Penny for piano solo.  The music gets more and more animated, until the trumpet plays a repeated figure while the piano and orchestra pound out chords.  The entire ensemble joins together to bring the music to a rousing finish.

Shostakovich was in his late 20's when he wrote this concerto.  His music was everywhere, his fame and popularity assured. In this period of relative freedom to do what he pleased, he composed a concerto that wavers from giddy to serious, music that toys with the listener. After the fiasco instigated by his opera of 1936 Lady Macbeth of the Mtsensk District, Shostakovich's life would change, along with his music, to a certain degree. But all that was to come. For the moment, Shostakovich wrote a concerto that thumbed its nose at tradition.

Tchaikovsky - Capriccio Italien, Opus 45

The truth about Tchaikovsky's secret has been long known to the world since his death. The fact that he was homosexual at a time and place where it was looked upon as a very serious matter no doubt contributed to the periods of emotional fragility he had throughout his life.  Tchaikovsky himself fought with his tendencies, for he knew well the consequences if they were discovered. He even went so far as to get married to try and become more normal as defined by society, or at least to give him the appearance of appearing more normal.

That the marriage was a total disaster should be no surprise. Tchaikovsky immediately left his new bride after the honeymoon and promptly had a nervous breakdown. Just what a nervous breakdown is, I've never had explained to me. No doubt it's a catch-all phrase for depression or some such other mental problem. In any case, Tchaikovsky fled to Switzerland. He tried to divorce his wife, and she at first agreed but she changed her mind and threatened to disclose his secret should he press for a divorce.   They stayed married and Tchaikovsky seems to have come to terms with who he was.

After he recuperated from his emotional crisis, he went on to finish an opera, his fourth symphony and violin concerto. Then he roamed Europe and Russia for a few years, never staying in one place for long. He made a trip to Rome during carnival season and it was there he was inspired to write a piece for orchestra based on Italian folk songs. He wrote down some of the songs he heard being played and consulted a volume of Italian folk songs for other examples. It ended up being a very loosely organized composition with songs linked together to make a whole.  In the hands of a lesser composer, the work might have been put together slipshod with the seams showing. But Tchaikovsky was a master composer and excellent craftsman, and the Capriccio Italien works very well on all levels.  It is brilliantly orchestrated and constructed. It has been a crowd-pleaser since it was written and premiered in 1880 in Moscow with Nicolai Rubenstein conducting.

The work opens with a fanfare for trumpets, a tune he heard played outside the window of his hotel in Rome. The piece goes through a number of folk songs of differing moods, and ends with a rousing tarantella, the dance that legend says is caused by the bite of the tarantula spider and makes the victim dance a frenzied dance until death.

 

Beethoven - Piano Trio In B-flat Major, 'Gassenhauer' Opus 11

When Beethoven came to Vienna in 1792 he began to make a name for himself with his piano playing.  He made the rounds of the elite salons in Vienna and stunned listeners with his impassioned playing and remarkable skill as an improviser.  He had composed and performed his first two piano concertos within three years and began to make a name for himself as a composer. In his early years Beethoven managed to nominally stay within the bounds of musical forms as practiced by Haydn and Mozart, but his harmonic audacity was evident from the start, as well as his delight in sudden dynamic changes and accents. A music critic of the time wrote:

If the composer, with his unusual grasp of harmony, his love of the graver movements, would aim at natural rather than strained or recherché composition, he would set good work before the public, such as would throw into the shade the stale, hurdy-gurdy tunes of many a more talked-about musician.

The Opus 11 trio is written for clarinet, cello and piano and was published with a part for violin instead of the clarinet for use by amateur musicians. Of course the late 18th century had no sound recording technology, so the only way music lovers could hear compositions were by playing them themselves or hiring professional musicians which only the rich nobility could afford. There were some complaints about the difficulty of  Beethoven's compositions, but they still sold well.

The trio was written and published in 1798 and is in 3 movements:

I. Allegro con brio - The trio begins with a unison statement of the first theme. The rest of the themes in the exposition come one after the other and it is difficult to tell what is a theme and what is transitional material, quite similar to what Mozart did (and Beethoven was a great admirer of Mozart) in some of his expositions. There is a full close that does at least divides the themes into two groupings. The exposition is repeated and with such a wealth of thematic material, it needs to be to help the listener grasp what is going on. The development section begins with one of the secondary themes, with a variant of the opening theme following, along with development of it. The recapitulation consists of some of the secondary themes going through Beethoven's highly individualistic modulations until a short coda is reached that abruptly ends the movement.

II. Adagio - The cello sings the opening theme first, then the clarinet. The piano makes its own statement after the two solos, then the instruments gently play off each other. A most satisfying, gently moving interplay between the three instruments keeps the music moving towards the gentle close done by the piano.

III. Allegretto -  This is a set of variations on a tune from a popular opera of the time, The Corsair In Love by Joseph Weigl, which premiered in 1797. The tune is called Pria ch'io l'impegno - Before beginning this awesome task, I need a snack.  Some credited Beethoven's publisher with suggesting the tune to Beethoven, others credit the idea to a clarinetist that commissioned the work from Beethoven.  Whatever the circumstance, it was one of the few times Beethoven used another composer's music for a set of variations. This tune is the basis for the nickname of the trio, Gassenhauer or Popular Song trio. Beethoven writes nine variations full of surprises on the tune and a quirky finale that is no less surprising.

Rimsky -Korsakov - Capriccio Espagnol

Rimsky-Korsakov composed three brilliantly orchestrated works in 1887-1888; Scheherazade, Russian Easter Festival Overture and the first piece composed, Capriccio Espagnol. The orchestration is colorful and bold, with numerous opportunities for the first-chair players for solos, and the Spanish tunes used are memorable.  

The work is in one continuous movement but consists of 5 different sections:

Albarado - A festive dance celebrating the morning sun opens the work.

Theme and variations - The tune is first played by the horns and then is carried to different instruments of the orchestra.
Albarado -  The same tune as in  the first section, but in a different key.
Scene and gypsy song -  This section begins with five solos by different instruments played over drum rolls that lead into a fast dance in triple time.
 Fandango from the Asturias - A fast and energetic dance that leads to a repeat of the Albarado theme which finishes the work.

Rimsky-Korsakov originally was going to compose a virtuoso work for violin and orchestra on Spanish themes but he changed his mind. Evidently he kept some of the solo violin virtuoso passages and gave them to the concertmaster of the orchestra.

At the premiere of the piece in 1887 with Rimsky-Korsakov conducting, the audience demanded that the entire work be repeated after the first hearing. During rehearsals of the work the orchestra members kept interrupting the rehearsals to applaud the composer.  Even so, Rimsky-Korsakov took exception to positive reactions of the piece that reacted to the orchestration of the piece,while seeming to ignore other aspects of the work. He vented his displeasure in his autobiography:

The opinion formed by both critics and the public, that the Capriccio is a magnificently orchestrated piece - is wrong. The Capriccio is a brilliant composition for the orchestra. The change of timbres, the felicitous choice of melodic designs and figuration patterns, exactly suiting each kind of instrument, brief virtuoso cadenzas for instruments solo, the rhythm of the percussion instruments, etc., constitute here the very essence of the composition and not its garb or orchestration. The Spanish themes, of dance character, furnished me with rich material for putting in use multiform orchestral effects. All in all, the Capriccio is undoubtedly a purely external piece, but vividly brilliant for all that. 

It is hard to imagine that Rimsky-Korsakov first had a career in the Russian Navy. He began composing as an untrained amateur and actually was appointed Professor of Practical Composition at the St. Petersburg conservatory despite his lack of even some basic music fundamentals. He managed to stay one step ahead of his students and studied all of these on his own and formed himself into an excellent teacher, master of orchestration, composer and conductor.

Rachmaninoff - Trio Élégiaque No. 1 In G Minor

Sergei Rachmaninoff wrote two piano trios within a year of each other, and both were called Trio Élégiaque (elegiac, or mournful trio). The first was written in 1892 when Rachmaninoff was 19 years old. He wrote it in a three-day period, and he was the pianist at the premiere of the work a few days later.  The second trio was written in 1893 shortly after the death of Tchaikovsky, a composer Rachmaninoff admired. So the second trio is actually an elegy in remembrance of Tchaikovsky, but the first was written when Tchaikovsky was in good health the year before.

The first trio is in but one movement, and is modeled somewhat after Tchaikovsky's Piano Trio In A Minor written in 1882, which was written in memory of Tchaikovsky's deceased friend Nicolai Rubinstein. This work made a lasting impression on Rachmaninoff and influenced him greatly when he composed his own trios.

The work opens with the violin and cello slowly and softly playing a repetitive figure that gradually grows in intensity. The piano enters with the theme that dominates the work:

This theme goes through various changes in the twelve sections that make up the trio, and in the end is transformed into a funeral march, as the Tchaikovsky trio does.

Rachmaninoff was still a student when he composed this trio, but he already had the emotional intensity and sense of instrumental color that was to be a part of his future compositions.

On account of it being a student work or its short length (it takes about 15 minutes to perform),  Trio Élégiaque No. 1 In G Minor was not published in Rachmaninoff's lifetime. The first edition appeared in 1947, and the work has no opus number.

Hiller - Piano Concerto No. 2 In F-sharp Minor, Opus 69

Ferdinand Hiller was born in 1811 in Frankfurt am Main to Jewish parents. His natural music ability was recognized early and he had learned his studies well enough by the age of 10 that he performed a Mozart piano concerto in public and wrote his first compositions two years later. His life was a veritable who's who of acquaintances of European music from his early years on. His piano technique grew to be one of the best in all of Europe. 

He met Felix Mendelssohn in 1822 and struck up a friendship that lasted until they had a falling out in 1843. He went on to study with Johann Hummel in Weimar from 1825 to 1827, and when Hummel went to Vienna to visit the dying Beethoven, Hiller was with him at the deathbed. While in Vienna, he went with Hummel to hear Franz Schubert and Johann Vogl perform Schubert's Winterreise.  After his time with Hummel he went to Paris for a few years, and then went to Italy as he hoped to write a successful opera. 

In Milan he met and befriended Rossini, and went on to meet and know Hector Berlioz, Franz Liszt, Luigi Cherubini, Charles Valentin-Alkan, and Richard Wagner. Robert Schumann dedicated his Piano Concerto In A Minor to Hiller, and Chopin dedicated the three nocturnes of Opus 15 to him. It was Hiller's personality that allowed him to maintain so many acquaintances of some highly artistically temperamented composers. He was by most accounts a charming man, and after he married his wife Antonka in 1840, their home became a meeting place for musicians and intelligentsia. He was also a teacher, lecturer and writer whose articles were published in many of the musical periodicals of the time. 

Although Hiller had a profound influence on European music as a composer, conductor, pianist, and author, he was not an advocate of the New German School Of Music that was led by Liszt and Wagner. He remained an essentially conservative musician and composer. He was a fine conductor, but avoided playing the works of some of his friends. Perhaps that is one reason that his music was so rapidly forgotten after his death in 1885.  He wrote 3 piano concertos among his other numerous works. 

I. Moderato, ma con energia e con fuoco -  Although Hiller was a somewhat conservative composer, that doesn't mean he didn't have some different ideas on how to meet the challenge of writing a work for soloist and orchestra. His 1st concerto written about 1829 was in the mold of many concertos written by composers/pianist in that the first movement begins with the orchestra presenting the themes of the movement. This 2nd concerto written in about 1843 begins with the piano stating a rhythmic first theme with the orchestra adding a few accents. Another theme emerges after the first, this one of a more lyrical nature. Yet another theme is first stated by the orchestra, and the soloist adds its own decorated version of it. A short development section leads to a return to the first theme and a compression of the exposition as themes are combined and played through until the orchestra reaches a cadence that brings forth a piano solo directly to the next movement. 

II. Andante espressivo - Several lyrical motifs are brought forth in this movement where the soloist is the main attraction. The orchestra accompanies lightly and only a few times carries thematic material, and when it does the piano adds a filigree of an accompaniment. The first theme returns and endswith three quiet chords from the piano. 

III. Allegro con fuoco -  The orchestra begins the movement and the piano enters with the first theme. The piano also presents the second theme as well. The movement consists of these two themes developing and weaving in and out between soloist and orchestra in various keys. The piano has many embellishments that add variety to the themes The movement ends with a flourish from the piano in octaves while the orchestra plays the closing cadence.

Tchaikovsky - Symphony No. 4 In F Minor, Opus 36

For many of the Romantic era composers,  the writing of symphonies presented problems. Especially with the use of sonata form. The great symphonic composers like Beethoven, Mozart, Haydn and even Bruckner used themes when they used sonata form while the Romantics used melodies.

What created the problem was the differences between a theme and a melody. A theme can be a short motif, such as the opening of Beethoven's Fifth Symphony, or it can be as long as a Brucknerian theme from one of his symphonies.  It is the character of the theme, the way that it can be changed and developed, that made for the success and utilization of sonata form.  A melody can be beautiful and complete in itself, but not all melodies can be successfully used and developed in sonata form in a symphony.  That is the dilemma that Romantics like Tchaikovsky faced when he began to write symphonies.

Tchaikovsky had a great gift for melody, but he was not the supreme architect like Beethoven who could take a few notes and construct a finely wrought symphonic structure around it. Tchaikovsky's first three symphonies were written in a more strict adherence to sonata form and structure. It wasn't until his 4th symphony that Tchaikovsky wrote a symphony in a very loose symphonic structure.  The 4th was not immediately popular, the premiere of it caused much criticism, probably due to the fact that if a regular concert-goer that was in the audience expected a 'traditional' symphony, they most certainly didn't get one.  But time has proven that Tchaikovsky's way with the symphonic form allowed him to stay more true to his talent. The three symphonies he wrote in this loose form are played way more often than those first three that are closer to tradition.

The 4th Symphony is in the traditional four movements:

I. Andante sostenuto — Moderato con anima — Moderato assai, quasi Andante — Allegro vivo - The many changes of tempo in this movement tell a great deal about the musical and emotional content of it. This movement alone is longer than the other three put together. The music has vitality and power, with melodies that weave in and out of the loose structure,  melodies that are developed, and some that aren't heard but once.  Tchaikovsky's newly discovered way to write a first movement for a symphony fits his musicianship and temperament very well. There is always drama in Tchaikovsky's music, and this movement runs the length of emotion from calm reserve to borderline hysteria.

II.  Andantino in modo di canzona - A beautiful melody is played and configured, with a central section of reflection on things already heard that builds into climax that is related more to the first movement than this one. The opening melody is heard again and there is more of a darkness to it now than the beginning. The music slowly and gently comes to a quiet close.

III. Scherzo: Pizzicato ostinato — Allegro -  One of the most original orchestrations of a master orchestrator, this movement has the strings playing pizzicato throughout. The winds pick up after the opening and play a tune until the brasses interrupt with a marching tune reminiscent of Tchaikovsky's ballet music. The strings return as in the opening, then enter into a dialog with the winds, the music is again interrupted by the marching brass, the pizzicato strings return and end the movement on a quiet note.

IV. Finale: Allegro con fuoco - The movement begins with a clash of cymbals and a rollicking tune. After that, Tchaikovsky quotes and old Russian song, In the Field Stood a Birch Tree. The tune is repeated a few times with different instruments, the first theme that began the movement returns until  the orchestra carries on with variants on the old Russian song. A direct quote from the beginning of the first movement interrupts the proceedings and leads back to the opening of the movement. Snatches of the old Russian folk song are heard and the orchestra whips itself into a grand ending.