Piano Concerto (Dvořák)

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The Concerto in G minor for piano and orchestra op.33 ( B 63) is the only piano concerto by the Bohemian composer Antonín Dvořák and the first of only three orchestral works with solo instruments. It was written in 1876 and premiered in 1878 and finally printed in 1883. Dvořák dedicated this work to the leading music aesthetician of his time, Eduard Hanslick .

History of origin

Dvořák's Piano Concerto was written in August and September 1876, shortly after he had finished his work Sounds from Moravia, Op. 32. Dvořák was inspired for this work by the up-and-coming and highly talented Czech pianist Karel Slakovský, who performed with the orchestra of the Czech interim theater under the direction of Adolf Čech on March 24, 1878 on the Slavic island (Slovanský ostrov; originally called the Dyeing Island, then in 1918 Sophia Island / Žofín) premiered in Prague . The long phase between the first completion and the premiere was due to the fact that Dvořák made numerous revisions and adjustments to the work himself and then worked in further changes by him as well as by several publishers and pianists until the final publication in 1883. Even years later it was changed again and again in some places, for example by the piano teacher Vilém Kurz .

Discoveries at the beginning of the 21st century by the Moravian State Museum in Brno also show that in the later versions until the final completion, greater emphasis was placed on the virtuoso elaboration of the piano part.

Shape and characteristics

The romantic piano concerto is set for piano and orchestra, which has two flutes , two oboes , two clarinets , two horns , two trumpets , timpani and strings . Although the work adheres to the traditional structure of three movements, it defies the prevailing zeitgeist, as the piano does not play the dominant, highly virtuoso and technically refined role, but is involved in the development of the themes as an equal partner of the orchestra . This is the reason for the subsequent changes to the piano part mentioned above - especially desired by pianists - in order to enhance it.

The concert contains three movements:

  1. Allegro agitato ( G minor )
  2. Andante sostenuto ( D major )
  3. Allegro con fuoco (G minor-> G major )

The average duration of the performance is around 35 minutes.

sentences

1st movement: Allegro agigato

In the first movement , three central themes are dealt with in a different sonata form. In the first six bars (with eighth-eight bar) the first theme is introduced, which is first processed in major and then in minor until the piano begins with a transition in bar 66 and the orchestra fades into the background. The subordinate theme in B flat major , intended as a contrast , which is reminiscent of Slavic dances, appears in bar 77, whereby the antecedent (1 bar) is repeated three times and the subsequent clause (1 bar) leads again into the varied subordinate clause. This happens four times. Then the first theme is processed in terms of motifs until it appears in F major in bar 103 in the piano . After the orchestra replies, the piano first takes over the theme, which is now in minor, which is then replied by the orchestra. This is followed by motivic processing, with a new, third, theme appearing in bar 152, which is processed up to bar 171, where a transition to the implementation takes place. Now the motivic work follows in other keys. Between bar 238 and bar 266 the orchestra plays alone again before only the piano can be heard for four bars. The recapitulation begins with bar 333 , although it is atypical that keys such as G major or C major are also used here. The cadence begins with bar 483, during which the piano plays solo up to bar 513. At the end of the sentence all topics are processed and played back.

2nd movement Andante sustenuto

In the first five bars, the first theme, which is peppered with only a few rhythmic elements, is introduced in the orchestra, then edited in a slightly abbreviated manner on the piano. Between bars 10 and 16 there is a transition to the second theme with its melodic ornamentation and gentle instrumentation, which first begins in the piano and reappears after an interlude. The middle section follows from bar 35 and from bar 72 the themes are shown again in a different form.

3rd movement: Allegro con fuoco

The third movement again deals with three themes, and the first 39 bars can be seen as an introduction by the piano, with the recurring motif ( theme ) consisting of two bars. In bar 40 Dvořák introduces the six-bar first theme in the piano, which is represented by the piano in the antecedent and by the orchestra in the subsequent clause and, after a small transition of scales , appears again in the piano from bar 67. A new section is added about motivic processing in bar 103: in B major and D major (from bar 123) a new theme is created, which is only dealt with briefly. In bar 164 there is again a transition in G minor, with the introductory theme appearing again from bar 190. In measure 216 a 2/8 measure is played, which also represents the beginning of the middle section. After a transition, the third, two-bar topic is shown several times from bar 225 and processed up to bar 245. Another motif appears from measure 263. After further processing of the motifs, the first motif is changed and repeated. In addition, a new section is indicated by the measure and key: the piano takes on an accompanying function and the orchestra processes the first motif in the bass. From bar 362 Dvořák introduces a revision of the first theme in the left hand of the piano, which begins from bar 388. In bar 400, another two-bar, repeating theme in G major begins, in which in bar 410 the piano begins with a transition and in bar 420 the theme takes over while the orchestra accompanies. From bar 453, the orchestra finally plays the theme while the piano pauses, with these roles being swapped from bar 461. Again the orchestra takes the lead for four bars, which merges into a transition from bar 478 to bar 485. Up to measure 567, the themes and transitions are alternately presented by piano and orchestra solo and both parties together.

Recordings (selection)

literature

  • Otakar Šourek: Antonín Dvořák: Piano Concerto in G minor, Op. 33. Critical edition based on the composer's manuscript. Supraphon, Prague 1978.
  • François-René Tranchefort: Guide de la musique symphonique. Fayard, Paris 1998, ISBN 2-213-01638-0 , p. 242.

Web links

Individual evidence

  1. ↑ About moravian duets, op. 32 on a comprehensive Dvorak site