Concerto

Martha Argerich Plays Beethoven: Piano Concerto No. 2 in B-flat Major

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The Piano Concerto No. 2, Op. 19 is music of the youthful Beethoven. Composed between 1787 and 1789, it predated the First Concerto, but was published out of sequence. Filled with charm and exuberance, it follows the model of Mozart. The acclaimed pianist, Martha Argerich is now an octogenarian, yet her performance of this music sparkles with youthful vitality. (Amazingly, she was already performing Beethoven Concerti at the age of 8, as …

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Remembering Maurizio Pollini

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Maurizio Pollini, the acclaimed Italian pianist whose career spanned more than six decades, passed away on March 23 in a clinic in his native Milan. He was 82. La Scala, the opera house where Pollini frequently performed,  hailed the Grammy-winning pianist as “one of the great musicians of our time and a fundamental reference in the artistic life of the theater for over 50 years.” Pollini began performing publicly at age 11, …

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Bach’s Violin Concerto in D Minor, BWV 1052R: Virtuosity and Fire

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Bach was a master of adaptation and reuse. He made a habit of crafting harpsichord concerti out of previously written concerti for other instruments. Such is the case with the Harpsichord Concerto in D minor, BWV 1052, which is believed to be a transcription of a long-lost Bach violin concerto. The score is filled with passages which fit neatly into the violin as bariolage, “the alternation of notes on adjacent strings, one …

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Dvořák’s Violin Concerto in A Minor: Spirited Bohemian Strains

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Once, while reflecting on his music, Antonín Dvořák commented, “I myself have gone to the simple, half-forgotten tunes of the Bohemian peasants for hints in my most serious works. Only in this way can a musician express the true sentiment of his people.” Dvořák’s Violin Concerto in A minor, Op. 53 overflows with the spirited strains of the composer’s Czech homeland. Bending sonata form and liberating the traditional structure of the concerto, …

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Michael Tippett’s Piano Concerto: Poetic Music Born of Beethoven

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The inspiration for Sir Michael Tippett’s Piano Concerto came in a single moment in 1950. The occasion was a rehearsal of Beethoven’s Fourth Piano Concerto with Walter Gieseking as soloist. Recalling this “precise moment of conception,” the English composer commented, “Under the influence of an exceptionally poetic yet classical performance of the Beethoven movement, I found myself persuaded that a contemporary concerto might be written, in which the piano is used once …

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Saint-Saëns’ First Cello Concerto: A Continuous, Cyclic Drama

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From its opening bars, Camille Saint-Saëns’ Cello Concerto No. 1 in A minor, Op. 33 defies convention. We are denied the expansive orchestral introduction which traditionally sets the stage for the entrance of the soloist. Instead, the Concerto is launched into motion with a single A minor chord which lands as a vigorous, attention-grabbing punch. The solo cello enters immediately and sweeps us forward, breathlessly, with the rhapsodic and tempestuous main theme. …

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Prokofiev’s Fifth Piano Concerto: A Quirky Drama With a Mind of Its Own

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Usually, we assume that, when writing a piece of music, the composer is firmly in control of the process as musical ideas are organized, refined, and developed. Yet, on occasion, the music seemingly comes alive, takes on a mind of its own, and dictates to the composer what it wants to be. This was Sergei Prokofiev’s experience when composing the Piano Concerto No. 5 in G Major, Op. 55. “Having accumulated a …

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