Tchaikovsky - Piano Concerto No. 1, Op. 23 (1875)

Pyotr Ilyich Tchaikovsky (Russian: Пётр Ильи́ч Чайко́вский; tr. Pëtr Il'ič Čajkovskij; 25 April/7 May 1840 – 25 October/6 November 1893), often anglicized as Peter Ilyich Tchaikovsky, was a Russian composer of the late-Romantic period, some of whose works are among the most popular music in the classical repertoire. He was the first Russian composer whose music made a lasting impression internationally, bolstered by his appearances as a guest conductor in Europe and the United States. Tchaikovsky was honored in 1884, by Emperor Alexander III, and awarded a lifetime pension.

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Piano Concerto No. 1 in B-flat minor, Op. 23 (1874-75)
Dedication: Hans von Bülow

1. Allegro non troppo e molto maestoso—Allegro con spirito (0:00)
2. Andantino semplice—Allegro vivace assai (20:34)
3. Allegro con fuoco (27:37)

Mikhail Pletnev, piano and the Philharmonia Orchestra conducted by Vladimir Fedoseyev

Description by Joseph Stevenson [-]
Although Tchaikovsky was already an accomplished composer (having already produced his first two symphonies, a string quartet, and two notable tone poems, all of these successful and enduring works), he still sought the approval of mentors such as Balakirev and Nicolas Rubinstein. On Christmas Eve 1874 he played the concerto for Rubinstein (its intended soloist) in an empty classroom. Rubinstein responded with a torrent of castigation, made famous by Tchaikovsky's own recollection. Tchaikovsky slunk off in despair. Later Rubinstein called him back and detailed a list of changes that must be made by a certain date if Rubinstein were to perform it. Tchaikovsky wrote that he responded, "I shall not change a single note, and I shall publish the concerto as it is now." He continued in his reminiscence, "And this, indeed, I did." Well, not entirely. Although there are no really substantial changes, he did subject the concerto to some minor revision before it was printed, as happens with most compositions. The premiere fell to Hans von Bülow, who played it first in Boston, October 15, 1875. The audience was enraptured and demanded a repeat of the entire final movement. Von Bülow took the concerto back to Europe, where it was quickly added to the repertoire of other leading pianists; even Rubinstein started playing it in 1878. It has been a giant success, virtually the epitome of the romantic piano concerto, ever since.

The form of the concerto is lopsided: possessing a notably large scale introduction, the broad melodies of the first movement run its length out to nearly 25 minutes, more than the length of the two remaining movements combined. Its arresting opening horn call, with bold orchestral chords interrupting, leads immediately to one of the most recognizable and beloved of classical melodies, played by strings with rich harmonic support from the piano solo. Tchaikovsky initiates a great formal surprise by going straightway into a full-fledged cadenza for the piano solo, a powerful treatment of the theme. The strings then reassert the melody in its original form -- and all this is only the introduction to the first movement proper. A lengthy introduction to be sure (106 measures), but once it ends, that's the last time in the concerto this music is used in any way. The movement proper is a full-scale sonata-allegro treatment of two themes, one reputedly a Ukrainian folk theme, the other a gentle romantic theme. There is great drama and passion in its working out; when it is all over one realizes that there is also a minimum (for Tchaikovsky) of angst and pathos.

The second movement is tender, beginning with pizzicato chords so quiet as to be almost whispers. A flute melody of young adolescent tenderness is the main theme of the movement. There is a central section with a delicate waltz.

The finale opens with a rushing string figure and a powerful drum stroke. The main theme is an arresting, galloping dance made up of many short phrases. Yet another romantic theme provides contrast.

[saratei]

2:39 that timpani part brings me to tears every time

[elpreludiodegala]

I can definitely see why he was Rachmaninoff's inspiration!

[AlexLaMotte]

So magical... it brings me a lot of nostalgia. Thank you for sharing!

[McGenji]

*Часть I*
Сонатная форма
Вступление - 0:00
Главная партия - 4:10
Побочная партия - 5:49
Разработка - 9:25
Реприза, Главная партия - 13:10
Реприза, Побочная партия - 13:37
Кода - 15:33

*Часть II*
Сложная трехчастная форма
Первая часть А - 20:34
Средняя часть С - 24:02
Реприза А - 25:53

*Часть III*
Рондо ABAB1ARB2K
Рефрен А - 27:37
Эпизод В - 28:44
Рефрен А(1) - 29:29
Эпизод B1 - 30:31
Рефрен A(2) - 31:05
Разработка - 31:34
Эпизод В2 - 33:12
Кода - 33:54

[BuoneFeste]

Riposa in pace Čajkovskij, maestro assoluto, che hai lasciato al mondo dei capolavori 🙏✝️🎹

[piano]

I never tire of the inspired opening of this concerto or of the rest of the work. A composition open to so many varied interpretations by the greatest pianists.

[steveegallo]

Pletnev the Magnificent! His reading of the SECOND Concerto also soars above all others....BRAVO!

[KeikoKim-pvpd]

an awesome and soothing melody makes me fly away to a fantastic-dream world. Admiring and respecting Tchaikovsky's talent. He is really an amazingly gifted composer. Loving it....

[collaborationist]

The timpanist is insane! Did you notice what the awesome shit he was playing in the introduction to the first part?

[StatischBenutzer]

28:21 is my favorite 10 seconds in all of music

[paulescudero]

The acoustics in this recording are fabulous. An incredibly talented composer and and orchestra and conductor who reproduced the intent of the composer with great fidelity. Thank you.

[fulviopolce]

Il più eseguito, il più ascoltato e il più affascinate nonché tecnicamente arduo concerto mai composto.
Tchaikowsky non è stato solo un genio ma un predestinato, perseguitato dal destino.
Questa prestazione di Pletnev è ottima e anche l'orchestra lo accompagna degnamente.
Un ottima inserzione e un grazie a Bartje per le interessanti notizie a riguardo .

[AndreGuimaraesoficial]

0:01 Tchaikovsky's Theme No. 1 Piano
It was also the subject of the segment "bom "dia" shown on the program Haroldo de Andrade by Rádio Globo in Rio de Janeiro Brazil
it was a painting that advised its listeners to solve their problems and was very successful in Rio de Janeiro.
Haroldo de Andrade was born in the city of Curitiba on May 1, 1934 and died on March 1, 2008 in Rio de Janeiro.
at 73 years old

[small]

규진
관악 대롸 12:27-12:40
베이스 14:02 14:19
다이내믹 12:10-12:25
피아노와 음색

[jx]

For self reference. High chance of error
Theme 1: 4:10
Transitionn? 5:48
Theme 2: 6:10 or 6:40

Development 9:29
Recap - theme 1 13:12
Cadenza: 15: 30
Coda (2nd theme): 19:08

[mr-wxlv]

Nice one Bartje... despite this being one the best known piano concertos ever, I've not heard it through from start to finish that many times, I tend to lose interest after the magnificent intro. Which, btw I thought was a separate movement altogether. But this is a fine recording of the work...

[nancy]

This song is so beautiful I can't get over with it

[marcozanda]

Kinda rare performance of the first version, love it

[fransmeersman]

Marvelous performance of this famous concerto and also very good sound quality, thank you !

[Peculate]

6:54-7:05 There are some nice spicy harmonies here, including a C/Ab resolving to an Ab6, followed by a G7#11/C, a C7#11, and then an extremely spicy F7(addmaj7)/A resolving to an F7/A, all eventually resolving to a Bb7/Ab. Very cool section, harmonically speaking, especially considering this was 1875.