Tchiakovsky’s Concerto No 1

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The third movement is antithetical in mood to the preceding movements. There is a monism and unity displayed throughout; an emotional single mindedness that is stately and triumphant. The emotion builds with very distinct passages of antecedent, consequent interplay between the orchestra and soloist. Lofty and extravagant strings soar over the terrace dynamics of the piano, whose disjunctive melody rises and falls by octaves at a time.

If any of the tension inflicted throughout the first and second movements disconcert the listener, the third movement effects resolution. This intensity is assuaged by a string passage at fourteen minutes that ushers in candential repetition. Two minutes into the movement, the piano interupts the comparatively even and chromatic strings with a dissonant and agitated arpeggiated melody. The rhythm, at Allegro con fuoco, is pulsing, reminiscent of the 1812 Overture. Beyond the easily recognizable subject material of this theme, the piano is prone to develop and digress on subjects briefly presented outside of the strict conforms of Classical period sonta-allegro.

During the second movement, performed Andantino simplice, a sympathy towards Rubenseins critic of the work threatens to overtake the listener. The mood shifts and minor chords persist to candential phrases. At five minutes, all is achieved and the candential passages affirm the accomplishment. Though ending on a minor note, the piece still leaves a listener with satisfaction. The arpeggios grow larger and more dramatic, running up and down the whole length of the keyboard.

Common topics in this essay:
Paul Phillips, , Bax Accompanying, Orchestra SMU, minor note, subject material theme, third movement, material theme, movement performed, subject material,

Approximate Word count = 521
Approximate Pages = 2 (250 words per page double spaced)

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