The Piano Concerto No.1 in Bb minor, Op. 23 was composed between 1874-1875 and revised three times until 1888. The premiere of this concerto would mark ten years after Tchaikovsky’s first public performance, so he was determined to make this work a big hit. However, after he showed the work to his desired pianist, Nikolai Rubinstein, Tchaikovsky received much criticism from his friend that he turnt his head away and reached out to Hans von Bülow, who adored Tchaikovsky and this work very much.
The premiere took place in 1875 in Boston, and it was so successful with the audience that Bülow was obliged to repeat the Finale. Although it was not initially welcomed, Rubinstein later had a change of heart and became a fan of the work. Now, this piano concerto is one of the most popular of Tchaikovsky’s works.
Here’s a breakdown of all of the movements.
The concerto follows the traditional form of three movements:
- Allegro non troppo e molto maestoso – Allegro con spirito (B♭ minor – B♭ major)
- Andantino semplice – Prestissimo – Tempo I (D♭ major)
- Allegro con fuoco – Molto meno mosso – Allegro vivo (B♭ minor – B♭major)
The first movement introduction starts with a short theme in french horn’s and the following accompaniment suggests a “wrong” key of Db major. The exposition begins in the tonic minor, with a Ukrainian folk theme, followed by a call and response section between tutti and the piano. The second subject consists of two alternating themes, one has a melodic contour from the introduction, the other is more gentle and sets the subtonic key. The woodwind and piano arpeggios together builds a stormy climax in C minor, and closes the exposition in Ab major with a variation on the second subject. The upper register twinkling in the piano seems to foreshadow Tchaikovsky’s The Nutcracker ballet which will come in later in his career.
The development contains snapshots of the first subject material: first in Eb major after a flurry of piano octaves, followed by a second repeat in G minor. Then the piano and strings play it in E major for the third repetition. The recapitulation builds excitement with reapperance of a powerful orchestral build from the exposition in Bb major, but was quickly cut short. The piano cadenza soon appears, followed with snatches of the first theme and led to a triumphant coda with the full orchestra.
The second movement begins with the flute singing over strings’ pizzacato, which becomes the main motif for the rest of the movement. The melody is past onto the piano with a modulation to F major, echoed by instruments from different spot in the orchestra, then later cello and oboe return with it in Db. The second section becomes more active and contrasting with light and bouncy piano passages demonstrating the soloist’s virtuosity. Following glides in the piano, the music return to the opening melody again, and this time it resolved in Db in a conversation between the piano and oboe. The final movement is in rondo form with a brief introduction, followed by two themes with one being uplifting and the other being more lyrical. A third theme later appears with modulation through different keys with dotted rhythm. Finally, the orchestra and pianist respond and challenge each other, and build towards a heroic ending.