Piano Concerto No. 2 (Mendelssohn)

Last updated
Piano Concerto in D minor
No. 2
by Felix Mendelssohn
Felix Mendelssohn Bartholdy - Friedrich Wilhelm von Schadow 1834.jpg
The composer by Friedrich Wilhelm Schadow, 1834
Key D minor
Opus 40
Year1837 (1837)
Period Romantic
Composed1837 (1837)
Durationabout 25 minutes
Movements3
Premiere
Date21 September 1837
Location Birmingham Festival

The Piano Concerto No. 2 in D minor, Op. 40, was written in 1837 by Felix Mendelssohn and premiered at the Birmingham Festival on 21 September that year, an event that also saw the premiere of Mendelssohn's oratorio St. Paul . [1] He had already written a piano concerto in A minor with string accompaniment (1822), two concertos with two pianos (1823–4), and his first Piano Concerto. The concerto is about 25 minutes in length, and is scored for solo piano, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings.

Contents

History

Unusually for Mendelssohn, who often produced his compositions quickly, the Second Piano Concerto took him a great deal of effort. [2] Its genesis dates to the period shortly after his marriage and is first mentioned in a letter to his friend Karl Klingemann  [ de ] while on honeymoon: "aber ein Konzert machte ich mir so gern für England, und kann immer noch nicht dazu kommen. Ich möchte wissen, warum mir das so schwer wird." [but I would like to write a concerto for England, and I can't manage it. I want to know why this is so difficult for me."] [3] Mendelssohn's difficulties probably stemmed from a desire to excel in the new work, written expressly for the Birmingham Music Festival, and thereby impress English audiences. The arduousness of the task is attested to by the fact that more autograph sources for the concerto exist than for any other composition he wrote for piano and orchestra. [4] Work on the piece lasted from April through to early September 1837, although his progress was significant enough that he felt confident enough to mention the work to his publisher, Breitkopf & Härtel in early August, having shortly before completed an autograph copy of both the piano part and orchestral score. However, it was not until six weeks after the Birmingham premiere and a second performance at the Gewandhaus in Leipzig, in early November, that Mendelssohn began actively to negotiate publication. He continued to work on the score through that month, delivering a final score to his publishers on December 12. [5] The publisher sent Mendelssohn the proofs of the score on 11 May 1838, which the composer promised to return a copied version of shortly thereafter. The work was published later that summer, although Mendelssohn was unhappy with the result, complaining, among other matters, that the title page was in French rather than German. [6]

Critical reception

Despite the effort it took Mendelssohn to write the concerto, it has been seen as a somewhat slight contribution to the repertoire. The composer Robert Schumann, writing in the Neue Zeitschrift für Musik , offered a frank assessment of the piece, observing:

This concerto, to be sure, will offer virtuosos little in which to show off their monstrous dexterity. Mendelssohn gives them almost nothing to do that they have not already done a hundred times before. We have often heard them complain about it. And not unjustly! ...

One will ask how it compares with his First Concerto. It's the same, and yet not the same; the same because it comes from the same practised master hand, different because it comes ten years later. Sebastian Bach is discernible in the harmonization. The rest, melody, form and instrumentation are all Mendelssohn.

Let us enjoy the fleeting, cheerful gift! It resembles one of those works thrown off by the older masters while recuperating from one of their great exertions. Our younger master will certainly not forget how the older ones would suddenly emerge with something magnificent – Mozart's Concerto in D minor, Beethoven's in G! [7]

Despite being overshadowed by other Romantic piano concertos (including Schumann's own 1845 Concerto) and the relative simplicity of the piano part, it is nonetheless frequently performed and recorded.

Movements

There are three movements (played attacca):

  1. Allegro appassionato
    Orchesterwerke Romantik Themen.pdf
  2. Adagio. Molto sostenuto (in B-flat major)
    Orchesterwerke Romantik Themen.pdf
  3. Finale. Presto scherzando (in D major)
    Orchesterwerke Romantik Themen.pdf

Related Research Articles

<span class="mw-page-title-main">Piano Concerto (Schumann)</span>

The Piano Concerto in A minor, Op. 54, by the German Romantic composer Robert Schumann was completed in 1845 and is the composer's only piano concerto. The complete work was premiered in Dresden on 4 December 1845. It is one of the most widely performed and recorded piano concertos from the Romantic period.

<span class="mw-page-title-main">Joseph Joachim</span> Hungarian violinist, composer, and teacher

Joseph Joachim was a Hungarian violinist, conductor, composer and teacher who made an international career, based in Hanover and Berlin. A close collaborator of Johannes Brahms, he is widely regarded as one of the most significant violinists of the 19th century.

<span class="mw-page-title-main">Piano Quintet (Schumann)</span> 1842 chamber work by Robert Schumann

The Piano Quintet in E-flat major, Op. 44, by Robert Schumann was composed in 1842 and received its first public performance the following year. Noted for its "extroverted, exuberant" character, Schumann's piano quintet is considered one of his finest compositions and a major work of nineteenth-century chamber music. Composed for piano and string quartet, the work revolutionized the instrumentation and musical character of the piano quintet and established it as a quintessentially Romantic genre.

<span class="mw-page-title-main">Violin Concerto (Mendelssohn)</span> 1844 composition by Felix Mendelssohn

Felix Mendelssohn's Violin Concerto in E minor, Op. 64, MWV O 14, is his last concerto. Well received at its premiere, it has remained among the most prominent and highly-regarded violin concertos. It holds a central place in the violin repertoire and has developed a reputation as an essential concerto for all aspiring concert violinists to master, and usually one of the first Romantic era concertos they learn. A typical performance lasts just under half an hour.

<span class="mw-page-title-main">Carl Reinecke</span> German composer, conductor and pianist (1824–1910)

Carl Heinrich Carsten Reinecke was a German composer, conductor, and pianist in the mid-Romantic era.

<span class="mw-page-title-main">Piano Concerto No. 1 (Mendelssohn)</span>

Mendelssohn's Piano Concerto No. 1 in G minor, Op. 25, was written in 1830–31, around the same time as his fourth symphony ("Italian"), and premiered in Munich on 17 October 1831. This concerto was composed in Rome during a travel in Italy after the composer met the pianist Delphine von Schauroth in Munich. The concerto was dedicated to her. Mendelssohn attended one party after another in Munich in October 1831, the month of the premiere, but he also played chamber music and taught double counterpoint. He performed the piece himself at the premiere, which also included performances of his Symphony No. 1 and the Overture from Midsummer Night's Dream. He had already written a piano concerto in A minor with string accompaniment (1822) and two concertos with two pianos (1823–24).

<span class="mw-page-title-main">Ferdinand Hiller</span> German composer and conductor (1811–1885)

Ferdinand (von) Hiller was a German composer, conductor, pianist, writer and music director.

The Symphony in C major by German composer Robert Schumann was published in 1847 as his Symphony No. 2, Op. 61, although it was the third symphony he had completed, counting the B-flat major symphony published as No. 1 in 1841, and the original version of his D minor symphony of 1841. It is dedicated to Oscar I, king of Sweden and Norway.

Johann Nepomuk Hummel's Piano Concerto No. 3 in B minor, Op. 89 was composed in Vienna in 1819 and published in Leipzig in 1821.

Johann Nepomuk Hummel's Piano Concerto No. 2 in A minor, Op. 85 was written in 1816 and published in Vienna in 1821.

The String Quartet No. 2 in A minor, Op. 13, was composed by Felix Mendelssohn in 1827. Written when he was 18 years old, it was, despite its official number, Mendelssohn's first mature string quartet. One of Mendelssohn's most passionate works, the A minor Quartet is one of the earliest and most significant examples of cyclic form in music.

<span class="mw-page-title-main">Viola Sonata (Mendelssohn)</span>

Felix Mendelssohn composed his Viola Sonata in C minor, MWV Q 14, when he was only 14 years old. The autograph score is dated 14 February 1824. The work was not published in Mendelssohn's lifetime - in fact not until 1966 - and it was not assigned an opus number. Although he did reuse one of the themes from the minuet movement in the equivalent movement of his First Symphony.

<span class="mw-page-title-main">Piano Trio No. 1 (Mendelssohn)</span>

Felix Mendelssohn's Piano Trio No. 1 in D minor, Op. 49, was completed on 23 September 1839 and published the following year. The work is scored for a standard piano trio consisting of violin, cello and piano. It is one of Mendelssohn's most popular chamber works and is recognized as one of his greatest along with his Octet, Op. 20. During the initial composition of the work, Mendelssohn took the advice of fellow composer Ferdinand Hiller to revise the piano part. Hiller wrote, "with his usual conscientious earnestness when once he had made up his mind, he undertook the length and rewrite the whole pianoforte part."

Felix Mendelssohn's Sextet in D major, Op. 110, MWV Q 16, for piano, violin, two violas, cello, and double bass was composed in April–May 1824, when Mendelssohn was only 15, the same time he was working on a comic opera Die Hochzeit des Camacho. Its composition took place between the Viola Sonata and the Piano Quartet No. 3. It also preceded the famous Octet, Op. 20 by about a year. 1824 is also the probable year of the composition of the Clarinet Sonata. Like the latter, the Sextet was not published during the composer's lifetime. Its first edition was issued in 1868 as a part of a complete collection of Mendelssohn's works, hence the misleadingly high opus number.

<span class="mw-page-title-main">Organ Sonatas (Mendelssohn)</span>

Felix Mendelssohn's six Organ Sonatas, Opus 65, were published in 1845. Mendelssohn's biographer Eric Werner has written of them: "Next to Bach's works, Mendelssohn's Organ Sonatas belong to the required repertory of all organists."

A concert piece is a musical composition, in most cases in one movement, intended for performance in a concert. Usually it is written for one or more virtuoso instrumental soloists and orchestral or piano accompaniment.

The Piano Sonata No. 3 in F minor, Op. 14, called "Concerto for piano without orchestra" by Tobias Haslinger, was composed by Robert Schumann in 1836 and dedicated to Ignaz Moscheles, to whom in a letter he comments "what crazy inspirations one can have". Liszt believed that the work was rich and powerful. In 1853 Schumann revised the work and added a Scherzo as a second movement, which the performer could choose to play, or not play. In 1861 it was released into the hands of his student Johannes Brahms.

Kristin Merscher is a German classical pianist and professor at the Hochschule für Musik Saar in Saarbrücken, Germany.

<span class="mw-page-title-main">Piano Concerto (Clara Schumann)</span> Musical composition by Clara Schumann

The Piano Concerto in A minor, Op. 7, was composed by Clara Wieck, better known as Clara Schumann after her later marriage to Robert Schumann. She completed her only finished piano concerto in 1835, and played it first that year with the Leipzig Gewandhaus Orchestra, conducted by Felix Mendelssohn.

<span class="mw-page-title-main">Piano Concerto (Burgmüller)</span> Concerto for piano and orchestra

The Piano Concerto Op. 1 in F-sharp minor is a concerto for piano and orchestra written by Norbert Burgmüller in the years 1828–1829. It premiered on 14 January in 1830 and was performed by Burgmüller himself at the piano.

References

  1. "Mendelssohn: Piano Concerto No. 2 Premier". Interlude.
  2. For this and what follows, including additional references, see Wilson Kimber, Marian (Summer 2003). "Mendelssohn's Second Piano Concerto, Op. 40, and the Origins of His "Serenade and Allegro Giojoso, Op. 43"". The Journal of Musicology . 20 (3): 358–387. doi:10.1525/jm.2003.20.3.358. ISSN   1533-8347.
  3. Klingemann, Karl, ed. (1909). Felix Mendelssohn-Bartholdys Briefwechsel mit Legationsrat Karl Klingemann in London. Essen: Baedeker. p. 214.
  4. Marian Wilson, "Felix Mendelssohn's Piano Concerto No. 2, Op. 40: A Study of the Autograph Sources," M.Mus thesis, Florida State University, 1989)
  5. Felix Mendelssohn, Briefe an Deutsche Verleger, eds. Rudolf Elvers and H. Herzfeld (Berlin: de Gruyter, 1968), p. 67
  6. Felix Mendelssohn, Briefe an Deutsche Verleger, pp. 75–76.
  7. Schumann, Robert (1988). Pleasants, Henry (ed.). Schumann on music: a selection from the writings. Lecture Notes in Mathematics. Vol. 1358. Courier Dover Publications. p. 151. doi:10.1007/b62130. ISBN   0-486-25748-7.