**P. I. TCHAIKOVSKY - PIANO CONCERTO NO. 1 - A REMARKABLE MASTERPIECE

Tchaikovsky’s Piano Concerto No. 1 is an extraordinarily special work. It is not only one of the great canonical masterpieces of the concerto repertoire in the history of Western classical music, but also a work that holds beautiful memories for generations of listeners. Its opening is instantly striking, with its heroic sound and unmistakable expression of a distinctly “Russian” spirit—one that cannot be confused with that of any other nation.

The melodies of this Concerto are perhaps deeply familiar not only to people from the former Soviet Union, but also to Russians and those who feel an affinity with Russia in the modern era. They belong to the generation who watched the opening ceremony of the 1980 Summer Olympics in Moscow and heard the music played at the final stage of the Olympic torch relay; to those of the next generation who were moved by the same melodies during the closing ceremony of the 2014 Winter Olympics in Sochi; and, most recently, to audiences who heard the work used in place of the Russian national anthem when Russian athletes were awarded gold medals at the 2020 Summer Olympics in Tokyo.

The opening of the first movement, Allegro non troppo e molto maestoso (“Fast, but not too fast, and very majestic”), resounds with three descending statements from the horns. The orchestra accompanies them with brilliant, firmly grounded chords, followed by the piano, which takes up these pillars of harmony as the orchestra unfolds the opening theme. The piano then continues to develop the theme, seemingly abandoning the orchestra and rushing into a world of its own self-questioning—a solitary monologue. This is a short cadenza, unusually placed within a concerto, appearing before the principal theme has even been fully presented. The orchestra then returns to “pull” the piano back to its feet with the majestic opening theme.

A new theme then emerges as the principal theme of the movement, Allegro con spirito (“fast and spirited”), presented by the piano. It is based on a strongly dance-like Ukrainian folk melody that Tchaikovsky had once heard from a blind street singer. This is followed by another melody in the clarinet, forming the second theme, and finally by a gentle, optimistic wave of sound led by the strings—the third theme of the movement. These melodies are passed continually from one instrument to another, while the piano responds with an ever-changing range of emotions.

The first movement is filled with passion and emotion, distinguished by its unusual formal design. Its departure from the conventions of contemporary concertos is perhaps most striking in the unconventional placement of the cadenza, which appears before the exposition of the principal theme.

The work was a bold innovation, moving away from the compositional traditions of its time. Perhaps this explains the dramatically different reactions of the two people whose opinions Tchaikovsky sought. Nikolai Rubinstein strongly opposed the work, dismissing it as “clumsy,” while the distinguished pianist and conductor Hans von Bülow admired it so deeply that he offered Tchaikovsky some of the most beautiful words of praise:

“…The concerto has displayed brilliance and is an outstanding achievement among your works. One thing is certain: you have enriched the world of music more than ever before. Throughout this remarkable work, there is a truly exceptional composition—noble, powerful, and filled with countless captivating moments; there is maturity in its form and style, in its design and execution, with harmonies so pleasing to the ear… that I could weary you by listing all the memorable moments for which I must thank the composer—not to mention the joy of performing it. In other words, this genuine jewel will earn you the gratitude of all pianists.”

Bülow gave the first performance of the Concerto in Boston in October 1875, where it was enthusiastically received by American audiences. A few years later, Nikolai Rubinstein overcame his initial reservations about the work and performed it himself. Tchaikovsky was “very, very happy” at his friend’s change of heart.

The work consists of three movements:

I – Allegro non troppo e molto maestoso – Allegro con spirito
(Fast, but not too fast, and very majestic – Fast and spirited)

II – Andantino semplice
(Slow and simple)

III – Allegro con fuoco
(Fast, with fire and passion)

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Mai Hạnh, August 2022