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Tchaikovsky's First Piano Concerto

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One night in mid-November, my family and I went to see the Minnesota Orchestra perform 3 pieces. The first was a suite from The Snow Maiden by Rimsky-Korsakov. Then was the highlight of the concert: Tchaikovsky’s First Piano Concerto. They finished with Symphony No.4 by Williams. Overall, this concert was outstanding. The piano concerto really was incredible, as was the rest of the performance. The first piece, suite from The Snow Maiden, was 4 pieces selected from an opera about the transformation of a girl from having a heart of ice to having one filled with love. The first number they played was the introduction. The woodwinds carried a minor melody, and the strings provided a suspenseful effect. The percussion established a mood of anticipation. …show more content…

4 in F minor, an intense and violent piece in 4 movements. The first movement, Allegro, started out with trouble brewing and notes that were odd when put together. The theme of suspense carried into a moment of beautiful conflicting screams, and the violent movement came to rest in one pluck. The second movement, Andante Moderato, starting out with conflicting parts in the brass and an eerie melody in the violins. Then there was a part of anguish with unresolved ideas and a growing sound which lead to an unresolved solo flute ending. The third movement, Scherzo: Allegro molto, started out urgent and quick, with a melody being passed around the woodwinds. The lower brass had large heavy moments which were quickly followed by frantic interjecting crazy moments and then the piece ended with this jaunty theme and obsessive and frantic tune. The final movement, Finale con epilogo fugato: Allegro molto, started with a quiet melody which quickly grew frantic yet controlled. It descended into a suspense and anticipation, and the excitement grew into a battle between the cheerful violins and the dramatic brass. The tempo grew faster and the battle continued into a gloriously epic

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o Allegro-This was a very interesting (and probably my favorite) piece. It was organized in ternary form, however, the ‘B’ in the ABA style was always different than the ‘B’ section before it, however, the piece would always return to the same ‘A’ section. The piece seemed difficult from a technicality standpoint with a very large range of pitches, coupled with an allegro tempo and an abundance of ritardando and accelerando sections. Mr. Rhu did a wonderful job executing this piece and was great to listen to.

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This is then followed by a sing-song like eight-note figure that features a pointed forward momentum. The rhythmic building blocks of the theme is constructed in two bar phrases which then sequences upward by step (Example 1). The accompaniment to the theme is sustained half notes played by the second violins, Violas, and Cellos The home key and the harmonic content of the exposition is also very clear in its presentation. The opening of the movement is in A major and remains primarily diatonic in its harmonic content, with only the occasional passing tone. The primary theme is played twice having a four-bar transition in between each quotation (Example 2).

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There were many musical elements heard throughout these pieces and it was interesting to hear how they varied in each song and suite. In Intermezzo, it began with a quieter violin solo melody creating a monophonic texture. Soon after, it became accompanied by the other violins and cellos, then the full ensemble came in creating a moderate, flowing melody at about mezzo forte and switching to a polyphonic texture. Next, there was a harp solo at forte with many crescendos and decrescendos. The full ensemble enters again raising the dynamics to forte before decrescendoing and slowing down to end with a held note and final tone.

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This orchestral composition is a skillful combination of these elements that makes this classical piece one of my favorites. The instrumentation

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It features two main themes, plus many melodic episodes. The structure - in A-B-A form - is clearly identifiable through the themes that mark each of the sections: the lyrical melody that opens the work, the exciting piu animato that ends with a demanding cadenza, and the final recapitulation that is followed by a cheeky and vivacious codetta that brings the work to a dramatic close. Possessing a memorable melodic theme, the piece tests the performer through the unending phrases, virtuosic c and the resultant nimble fingerwork required. It has remained one of the great standards amongst the

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