Piotr Ilitch Tchaïkovski Concerto pour piano n° 2 en sol majeur, Op. 44 Vidéos
- Première le 1881-11-12 (Concerto pour piano n° 2 en sol majeur, Tchaïkovski)
- dédié à Nikolai Rubinstein
Dernière mise à jour
2024-03-21
Actualiser
Pyotr Ilyich Tchaikovsky Emil Grigoryevich Gilels Lorin Varencove Maazel Alexander Ilyich Siloti New Philharmonia Orchestra 1840 1893 1916 1930 1972 1985 2014 2018
Pyotr Ilyich Tchaikovsky +••.••(...)) Piano Concerto No. 2 in G major, Op. 44 (Edited by Alexander Ilyich Siloti) 00:00 - I. Allegro brillante e molto vivace 20:18 - II. Andante non troppo 28:14 - III. Allegro con fuoco Emil Grigoryevich Gilels +••.••(...)), Piano Lorin Varencove Maazel +••.••(...)), Conductor New Philharmonia Orchestra Recorded 11th to 17th September of 1972, at Studio No.1 Abbey Road, London, Great Britain
Pyotr Ilyich Tchaikovsky Pletnev Fedoseyev Moscow Radio Symphony Orchestra
Pyotr Ilyich Tchaikovsky - Piano Concerto No.2 in G major, Op.44 with sheet music 1. Allegro brillante e molto vivace 00:02 2. Andante non troppo 20:03 3. Allegro con fuoco 33:35 Moscow Radio Symphony Orchestra
Pyotr Ilyich Tchaikovsky Konstantin Scherbakov Dmitry Yablonsky Nikolay Rubinstein Rubinstein Meck Taneyev Anton Rubinstein Theodore Thomas Vasily Sapelnikov Ziloti Russian Philharmonic Orchestra 1879 1880 1881 1882 1888 2005
Pyotr Ilyich Tchaikovsky - Piano Concerto No 2 in G major, Op 44 0:00 Allegro brillante 20:10 Andante non troppo (Andrey Kudryavtsev, Violin - Dmitry Yablonsky, Cello) 33:40 Allegro con fuoco Konstantin Scherbakov, piano, Russian Philharmonic Orchestra conduced by Dmitry Yablonsky Although Tchaikovsky’s Piano Concerto No. 1 (Naxos 8.557257) has become the most popular of all Russian concertos, his Piano Concerto No. 2 is arguably the more cohesive. With a lyrical slow movement containing prominent solos for the violin and cello, effectively turning the work into a concerto for piano trio, and an explosive finale marked Allegro con fuoco, the concerto demands a pianist who can play with both unbridled virtuosity and intense poetry. It was during a stay at his sister's estate at Kamenka in October 1879 that Tchaikovsky started work on his Piano Concerto No. 2 in G major, Op. 44, thus staving off the boredom that he had begun to suffer. He continued the concerto in Paris and in Rome in the spring of 1880, returning to Kamenka to complete the orchestration. He dedicated the concerto to Nikolay Rubinstein, whose initial harsh criticism of his Piano Concerto No. 1 he had not forgotten, although that concerto was now a part of Rubinstein's concert repertoire. He now hoped that Nikolay Rubinstein would give the first performance, although criticism from him was inevitable, a suggestion that the piano part was episodic and not given enough prominence over the orchestra, a judgement that was duly reported by Tchaikovsky in a letter to Nadezhda von Meck. After the sudden death of Rubinstein in Paris in March 1881, he decided to give the piano part to Taneyev, who gave the first Russian performance in Moscow in May 1882 under Anton Rubinstein. In fact the concerto had already been heard in New York in November 1881, with the pianist Madeleine Schiller, under Theodore Thomas. Taneyev expressed reservations about the piano writing and other elements in the concerto, although he had expressed earlier satisfaction. Tchaikovsky himself made some cuts for performances of the concerto with the young pianist Vasily Sapelnikov in 1888 in St Petersburg, Prague and Moscow. Further changes were proposed by the pianist Alexandr Ziloti, a former pupil of Tchaikovsky at the Moscow Conservatory and now a friend of the composer. Tchaikovsky rejected Ziloti's suggestions, although these found their way into the new edition of the work that had been under preparation and was published after Tchaikovsky's death. The first movement of the new concerto might at first seem, as Nikolay Rubinstein had suggested, episodic. Taneyev thought it too long, only one of his complaints about the work. The solid first subject is stated by the orchestra and then taken up by the solo piano. After a solo cadenza the change to the key of E flat major for the second subject is unexpected. A sudden pause marks the end of the exposition, followed by a forceful orchestral statement of the second subject in C major. The long development section includes two further cadenzas before the orchestra returns with the first subject in recapitulation, the second subject returning in B flat major, before a shift to the relative G minor and a final passage in the tonic key. The unusual feature of the second movement lies in its considerable use of a solo violin and a solo cello. There is contrast in a central section and cadenzas for violin and then for cello are followed by the return of the principal theme, offered by the solo violin, accompanied by plucked strings and by the syncopated chords of the solo piano. A short piano cadenza leads to the closing section, where, there occurs one of the few short cuts allowed by the composer. The final Allegro con fuoco, as succinct as the first movement is extended, allows the soloist to burst in with the first subject, to which a second theme in E minor offers the first contrast. A third theme is introduced and this is to provide a link to the recapitulation, with the return of the main theme. The second and third themes return in D minor and F major respectively, and the movement ends with the expected panache.
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