![]() Never a master of classical form, Tchaikovsky makes up for this self-confessed limitation with unforgettable melodies, incisive rhythms and an ability to plumb the depths of human emotions. The theme is not used again, and the apparent ensuing chaos of the following Allegro con spirito section masks a loose sonata-form structure typical of Tchaikovsky. The famous introduction, with blazing horns followed by crashing chords on the piano and a grandiose theme eventually leading to a piano cadenza, seems totally novel, but in fact is just a grand elaboration of the introduction found in many classical concertos. This appeared to be a concerto like none other before it. On the face of it, Rubinstein’s concern was understandable. Rubinstein eventually came round and he and his pupils became ardent advocates of the concerto around Europe. The premiere by von Bülow in Boston in 1875 was a triumph, with the final movement being encored. Tchaikovsky vowed “I shall not alter a single note” and re-dedicated it to the distinguished pianist and conductor Hans von Bülow. Alas, Rubinstein described it as “clumsy and unplayable, when not vulgar and chaotic”. ![]() Today this concerto is one of the most popular pieces in the piano repertoire, but, always insecure, Tchaikovsky was anxious to secure the approval of the virtuoso pianist Nicholas Rubinstein. Andantino semplice – prestissimo – tempo primoĬomposed prior to his disastrous marriage, which led to a downward spiral of mental anguish, Tchaikovsky’s first piano concerto propelled him to a burst of success that saw him compose, in less than a year, Swan Lake, the third symphony and Francesca da Rimini.Allegro non troppo e molto maestoso – allegro con spirito. ![]() 1 in B-flat minor, Op 23 ( 1874) Peter Ilyitch Tchaikovsky (1840-1893) ![]()
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