current muse, the lovely and safely married Elizabeth von Herzogenberg, he revealed,“ I have written a tiny little piano concerto with a tiny wisp of a scherzo.” However, the composer also revealed the true nature of his newest creation to her when he described it as“ the long Terror.”
For the Second Piano Concerto is long indeed: with four substantial movements and lasting approximately 50 minutes, it is the size of two ordinary concertos put together. And it is monumental in its architecture, emotional scope and the demands it places on the pianist. Brahms scholar Malcolm MacDonald describes the technical challenges well:“ In its massive chording, wide [ finger ] stretches, vigor, richness and textural variety, the piano writing is the most elaborate result of his lifelong fascination with virtuoso technique. … but other moments call for extreme delicacy and limpidity of touch, the reticence and self-effacement of the ideal accompanist.”
Movement one: The concerto’ s chamber-music opening is unique. A solo horn sings the gently rising principal theme and the piano echoes each phrase. Suddenly, the pianist throws off her reserve and plunges into a titanic monologue, the first of many mini-cadenzas throughout. This in turn galvanizes the orchestra into action, transforming the horn’ s shy theme into a mighty march. And soon we hear the first suggestion of the movement’ s second theme: a supple, swaying melody in D minor in the violins that is quickly broken off.
The pianist now expands this thematic material, and when she comes to the swaying second theme, she reveals its character as passionate rather than nostalgic. By now, the music has taken a very dramatic and even ominous turn from its tender beginning. It culminates in a fierce declamation of the principal theme by the full orchestra before the horn quietly sounds that theme again and the music merges into the development section.
The arrival home at the recapitulation section is one of Brahms’ most magical and moving. He keeps trying to get there by gestures of musical willpower. But finally only gentle acceptance succeeds, as the piano floats in shimmering arpeggios and the horn warmly welcomes it back.
PHOTO © NICK ECKERT
The Lyric and Ballet Theatre of Maryland are proud to present
von Brugh
Private car and executive Livery
I don’ t always wear a tuxedo, but when I do...
Comedians go on stage Speakers speak ∙ parents meet wedding guests manufacturers meet partners ∙ new products are launched ∙ incoming students meet admissions ∙ Lawyers take depositions ∙ Athletes play ball trainers train ∙ Writers publish Winter homes are closed & Summer homes are opened...
BASed in toWSon vonbrugh. com
md psc 5530
PHL
Ballet t h e a t r e o f m a r y l a n d
MARYLAND’ S PREMIER PROFESSIONAL BALLET COMPANY
The powerful retelling of the Legend of King Arthur
with LIVE MUSIC featuring MAGGIE SANSONE and her musicians playing her original award-winning score!
APRIL 1
THE LYRIC
Buy your tickets NOW! 410-547-SEAT ticketmaster. com
Or visit the box office in person( T-F 10am-4pm) 410.900.1150
Groups SAVE!!( 15 +) Call Ashley at 410.900.1164
Joseph m. brugh driver | sherpa | ceo
By Appointment
410-963-8302
March – APRIL 2017 | Overture 15