Accompanied by the Strijkers van de Nordwestdeutsche Philharmonie, Ukrainian classical pianist Anna Fedorova performs Frédéric Chopin’s Piano Concerto No. 2 in F minor, Op. 21. Conductor: Yves Abel. Recorded on September 6, 2020, at the Het Concertgebouw (The Royal Concertgebouw, a concert hall in Amsterdam).
Frédéric Chopin’s Piano Concerto No. 2 in F minor, Op. 21
Frédéric Chopin’s Piano Concerto No. 2 in F minor, Op. 21 is a masterful work that showcases the composer’s unparalleled ability to write for the piano. Completed in 1829, before his more commonly performed Piano Concerto No. 1, this concerto reflects the influence of Chopin’s Polish heritage and his deep emotional sensitivity. Although the orchestral accompaniment has sometimes been criticized as secondary to the piano, the concerto as a whole remains a beloved piece in the Romantic repertoire.
At its heart, this concerto is a celebration of the piano’s expressive range and virtuosic possibilities. Chopin, known as one of the greatest pianists of his time, crafted a work that places the soloist at the center of the musical narrative. The piano’s voice carries the concerto, weaving intricate melodies, sparkling embellishments, and lush harmonic textures. The dialogue between the piano and orchestra highlights Chopin’s delicate touch in balancing the two forces, even as the piano often dominates.
The concerto reflects a youthful yet sophisticated composer, drawing heavily on his Polish roots for inspiration. Echoes of Polish folk music can be heard throughout the piece, particularly in the lyrical and dance-like qualities of certain themes. These influences, combined with Chopin’s rich harmonic language, give the concerto a unique character that sets it apart from those of his contemporaries.
Emotionally, the work shifts seamlessly between introspective, tender moments and passages of grandeur and intensity, showcasing Chopin’s ability to convey deep emotion through music. The virtuosic passages not only serve to demonstrate the performer’s technical skill but also enhance the dramatic narrative, creating a sense of intimacy and immediacy that draws the listener in.
While the orchestration may be less elaborate than in the works of composers like Beethoven or Brahms, it serves as an effective backdrop for the piano’s rich voice. This focus on the piano reflects Chopin’s preference for the solo instrument, even in a concerto setting. Piano Concerto No. 2 remains a staple of the Romantic piano repertoire, celebrated for its beauty, depth, and the opportunity it provides pianists to showcase their technical prowess and interpretive sensitivity.
Movements
1. Maestoso (F minor)
The first movement of Frédéric Chopin’s Piano Concerto No. 2 in F minor, Op. 21, marked Maestoso, is a grand and dramatic opening that sets the tone for the entire work. Written in the key of F minor, the movement embodies the Romantic spirit with its passionate intensity, lyrical melodies, and virtuosic demands on the soloist.
The movement begins with a lengthy orchestral introduction, characteristic of concertos from the Classical and early Romantic periods. This introduction establishes the main themes and creates an air of anticipation before the solo piano enters. The orchestra’s opening material is stately and noble, with a sense of restrained drama, serving as a backdrop for the soloist’s impending virtuosity.
When the piano enters, it does so with a commanding presence, taking up the themes introduced by the orchestra and elaborating on them with dazzling runs, intricate ornamentation, and complex harmonic progressions. Chopin’s characteristic style is immediately evident in the interplay of sweeping arpeggios and expressive melodic lines. The piano weaves these elements together, transforming the material into something uniquely personal and deeply emotional.
The Maestoso is notable for its contrast between moments of fiery brilliance and passages of lyrical introspection. The main theme, imbued with a sense of longing and melancholy, reflects Chopin’s deep emotional connection to his Polish roots. The secondary theme, in the relative major key of A-flat major, provides a lyrical and tender counterpoint to the stormy intensity of the opening.
Throughout the movement, the piano takes center stage, with the orchestra playing a supportive role. The dialogue between the two is dynamic, yet the soloist’s voice dominates, showcasing Chopin’s love for the piano as a singular expressive force. The movement concludes with a dramatic and virtuosic flourish, leaving a lasting impression of both technical brilliance and heartfelt emotion.
2. Larghetto (A-flat major)
The second movement of Frédéric Chopin’s Piano Concerto No. 2 in F minor, Op. 21, marked Larghetto, is a sublime and deeply introspective piece that contrasts the drama of the first movement. Written in A-flat major, this movement serves as the emotional heart of the concerto, showcasing Chopin’s unparalleled ability to create lyrical and expressive melodies.
Opening with a delicate orchestral introduction, the Larghetto establishes a serene and contemplative atmosphere. The piano then enters with one of Chopin’s most tender and poignant themes, a melody that sings with a vocal quality often likened to a nocturne. This lyrical line, accompanied by understated strings, is marked by its simplicity and emotional depth, drawing the listener into an intimate, almost dreamlike world.
Chopin’s piano writing in this movement is exquisitely ornamental, with embellishments and intricate filigree enhancing the beauty of the melody without overwhelming it. The use of rubato—a hallmark of Chopin’s style—allows for expressive freedom, making each performance uniquely personal. The soloist must balance technical finesse with emotional sensitivity, as the music demands both precision and profound interpretive insight.
The middle section of the Larghetto introduces a contrasting, stormy episode in the minor key. Here, the music grows more dramatic, with dark, agitated chords and a sense of passionate unrest. This passage provides a striking counterbalance to the tranquil opening, showcasing the depth of emotion and dynamic range within the movement.
The calm and lyrical theme from the opening returns, bringing a sense of resolution and peace. The piano’s delicate phrasing and the orchestra’s soft accompaniment create a tender and ethereal conclusion, leaving the listener with a feeling of quiet transcendence. The Larghetto stands as one of Chopin’s most beautiful slow movements, a testament to his genius for capturing the complexities of human emotion through music.
3. Allegro vivace (F minor – F major)
The third movement of Frédéric Chopin’s Piano Concerto No. 2 in F minor, Op. 21, marked Allegro vivace, is a lively and spirited finale that brings the concerto to a jubilant close. This movement is rooted in the tradition of the krakowiak, a Polish folk dance, and its rhythms and energy reflect Chopin’s deep connection to his homeland. The movement begins in F minor but ultimately resolves triumphantly in F major, symbolizing a journey from introspection to exuberance.
The piano immediately takes the lead after a brief orchestral introduction, introducing a playful and rhythmically vibrant theme. This melody, infused with syncopation and a dance-like character, captures the essence of the krakowiak. The movement alternates between moments of high energy and more lyrical interludes, allowing the soloist to display both dazzling virtuosity and expressive nuance.
Chopin’s writing for the piano in this movement is nothing short of brilliant. The soloist is tasked with rapid passages of sparkling runs, intricate scales, and dynamic leaps, all of which require impeccable technique and precision. Yet, amidst these virtuosic demands, the music never loses its sense of joy and playfulness. The piano and orchestra engage in a lively dialogue, with the orchestra providing robust rhythmic support and colorful harmonic textures that enhance the soloist’s role.
The central section introduces a contrasting theme, more lyrical and reflective, but the lively spirit soon returns, building momentum as the movement progresses. The transition to F major near the end marks a shift in tone, as the music takes on a jubilant and celebratory character. The Allegro vivace concludes with a triumphant flourish, as the piano and orchestra join forces for a rousing final statement.
This movement, with its combination of folk-inspired rhythms, virtuosic brilliance, and uplifting conclusion, captures the spirit of Chopin’s artistry. It provides a fitting and exhilarating close to the concerto, leaving the listener with a sense of triumph and delight.
Anna Fedorova
Anna Borysivna Fedorova (born February 27, 1990) is a Ukrainian concert pianist. She is a David Young Piano Prize Holder supported by a Soiree d’Or Award and Keyboard Trust.
Anna Fedorova is one of the world’s premier young pianists. From an early age, she demonstrated innate musical maturity and outstanding technical abilities. Her international concert career took off while she was only a child and audiences around the world were “completely taken by surprise, compelled and astonished” by the depth and power of her musical expression.
Anna’s live recording of the Rachmaninoff 2nd Piano Concerto in the Royal Concertgebouw has become the most-watched classical concerto on YouTube and is highly praised by many renowned musicians. As the cover artist of the Sunday morning series in season 17/18, she returns there annually to perform with orchestras with live streaming on the dutch classical music channel, Avrotros Klassiek.

Having mastered a formidable concerto repertoire, she has been performing with prestigious orchestras around the world, including the Philharmonia Orchestra and Royal Philharmonic (London), Hong Kong Philharmonic Orchestra, Utah Symphony, Dallas Symphony, State Symphony Capella of Russia, Kyoto Symphony, Yomiuri Nippon Symphony orchestra, and the Tokyo New City Orchestra (Japan), the Netherlands Philharmonic, Residentie Orkest (Netherlands), Orchestre Lamoureux (France), St Gallen Symphony Orchestra, the Orquestra Filarmonica de Buenos Aires (Argentina), the Orchestre de Chambre de Lausanne (Switzerland), the Philharmonia of the Nations and the Nordwestdeutsche Philharmonie (Germany), Orquesta Sinfonica Nacional de Mexico, the Israel Chamber Orchestra.
Anna has performed with great conductors, including Jaap Van Zweden, Jun Markl, Benjamin Zander, Olari Elts, Valery Polyansky, Carlos Miguel Prieto, Christian Schumann, Tatsuya Shimono, Andrew Grams, Alexander Shelley, Modestas Pitrenas, and others.
Anna has claimed top prizes at numerous international piano competitions, including the International Rubinstein “In Memoriam” piano competition, the Moscow International Frederick Chopin Competition for young pianists, the Lyon Piano Competition, and recently became a recipient of the Verbier Festival Academy Award.
She is also a two-time laureate of the Dorothy MacKenzie Artist Recognition Scholarship Award at the International Keyboards Institute & Festival (New York, USA). Anna graduated with distinction from the Royal College of Music under the guidance of Norma Fischer. She also studied at the prestigious Accademia Pianistica in Imola, Italy with Leonid Margarius, as well as the Lysenko School of Music in Kyiv with Borys Fedorov. She has also received mentorship from world-renowned musicians such as Alfred Brendel, Menahem Pressler, Steven Isserlis, and Andras Schiff.
As a recording artist, Anna is signed with the Dutch record Channel Classic. Since the beginning of their collaboration in 2017, 4 CDs have been released to much critical acclaim: two solo CDs, Story Teller and Four Fantasies, a Rachmaninoff CD with the St. Gallen Symphony Orchestra, and a duo CD with violist Dana Zemtsov Silhouettes.
There are two more CDs planned to be released in 2020-2021: an all-Chopin solo album and a duo CD with double bassist Nicholas Schwartz entitled Stolen Pearls. Earlier CDs include a Brahms, Liszt, and Chopin album, released by the DiscAnnecy Label, and a Rachmaninoff 2nd Piano Concerto CD with Piano Classics.
2016 marked the release of 3 more albums – with Rachmaninoff 3rd piano Concerto and Mussorgsky “Pictures at an Exhibition”, a CD with german Cellist Benedict Kloeckner of works by Chopin and Frank, and with the Turkish cellist Jamal Aliyev, works by Russian composers.
In early 2021 a Documentary about Rachmaninoff “Rachmaninoff revisited” was released, where Anna Fedorova is featured along with other top pianists such as Yefim Bronfman, Mikhail Pletnev, Denis Matsuev, Barry Douglas, Alexander Kobrin, and Olga Kern.
In 2017 and 2018 Anna was the artistic director of the International Chamber Music Festival, Ede. She is the Artist in Residence at the Haarlem Philharmonie in season 2021-2022.
Sources
- Piano Concerto No. 2 (Chopin) on Wikipedia
- Anna Fedorova on Wikipedia
- Anna Fedorova’s official website
- Piano Concerto No. 2, Op.21 (Chopin, Frédéric) on the International Music Score Library Project website
- Chopin’s Piano Concerto No. 2 on the Interlude website
- Frédéric Chopin Piano Concerto No. 2 in F minor, op. 21 on Rolf’s Music Blog
- “Piano Concerto No. 2 in F minor, Op. 21 – Frederic Chopin” on Pianio blog