Accompanied by the Wiener Philharmoniker (Vienna Philharmonic Orchestra), Lang Lang plays Frédéric Chopin’s Piano Concerto No. 2 in F minor, Op. 21. Conductor: Zubin Mehta. This performance was recorded at the Schönbrunn Palace in Vienna on June 28, 2008.
Frédéric Chopin’s Piano Concerto No. 2
Chopin’s Piano Concerto No. 2 in F minor, Op. 21 is a cornerstone of Romantic piano repertoire and one of his earliest large-scale compositions. Although it is designated as his second piano concerto, it was actually composed before his Piano Concerto No. 1, in 1829, when Chopin was just 19 years old. The numbering reflects the order of publication, not composition.
This concerto is often admired for its poetic lyricism and virtuosic piano writing, qualities that define Chopin’s musical style. At its core, the concerto is a vehicle for the soloist, with the orchestra providing a supportive but relatively subdued accompaniment. Chopin, primarily a composer for the piano, was less interested in orchestral writing, and this is evident in the straightforward orchestration, which mainly serves to enhance and frame the solo piano’s narrative.
The concerto reflects the influence of earlier composers, particularly Mozart and Hummel, in its formal structure and elegance. However, Chopin’s unique voice emerges clearly, especially in the expressive piano writing. The work brims with the charm and spirit of Polish folk music, a hallmark of Chopin’s oeuvre. The melodies are tender and lyrical, with moments of intense emotional depth that hint at the introspective and passionate qualities that would characterize his later works.
One of the most notable aspects of this concerto is the way Chopin uses the piano as a means of personal expression. The virtuosic passages are not merely displays of technical skill but are imbued with an improvisatory quality that allows the performer to convey a wide range of emotions. The concerto’s harmonic language is rich and inventive, with subtle chromaticism and unexpected modulations that add depth to its Romantic character.
Chopin premiered the concerto himself in Warsaw in 1830, and it was one of the last works he performed before leaving Poland later that year. Despite some criticism of the orchestral writing, the concerto has endured as a favorite in the repertoire, primarily for its exquisite piano part. It continues to captivate audiences with its combination of virtuosity, lyricism, and heartfelt expression, offering a glimpse into the young Chopin’s artistic genius and his deep connection to his Polish roots.
Movements
1. Maestoso
The first movement of Chopin’s Piano Concerto No. 2 in F minor, Op. 21, marked Maestoso, is a grand and expansive opening that blends Classical structure with Romantic expressiveness. It begins with a lengthy orchestral introduction, typical of concertos from this period, presenting the principal themes before the solo piano enters. The orchestra sets a serious and dramatic tone with the first theme, which is bold and assertive, while the second theme offers a more lyrical and contrasting character.
When the piano enters, it takes center stage, restating the themes introduced by the orchestra but imbuing them with Chopin’s distinct pianistic style. The solo part is richly ornamented, filled with intricate runs, arpeggios, and dynamic contrasts that highlight the virtuosity required of the performer. Chopin’s use of the piano here is deeply personal, with the instrument serving not only as a showcase for technical brilliance but also as a vehicle for emotional expression.
The movement’s development section explores and transforms the themes, with the piano and orchestra engaged in a dialogue. The harmonic language becomes more adventurous, and the interplay between dramatic tension and lyrical introspection is heightened. Chopin’s use of chromaticism and subtle modulations adds depth and complexity to the musical narrative.
The recapitulation brings back the main themes, now more richly embellished in the piano part, and the movement concludes with a dramatic coda. The piano dominates the finale, driving the music to an emphatic and powerful close.
While the orchestral writing in this movement is often regarded as functional rather than innovative, it provides a solid foundation for the piano’s dazzling and emotive role. The Maestoso sets the stage for the concerto’s lyrical and Romantic journey, displaying Chopin’s mastery of the piano and his early compositional brilliance.
2. Larghetto
The second movement of Chopin’s Piano Concerto No. 2 in F minor, Op. 21, marked Larghetto, is an exquisite and deeply lyrical piece, often considered the emotional heart of the concerto. It showcases Chopin’s gift for melody and his ability to convey profound emotion through simplicity and elegance.
The movement opens with a tender and songlike theme introduced by the piano, set against a soft and understated orchestral backdrop. This theme is infused with an air of nostalgia and poetic longing, evoking the intimate style of a nocturne. Chopin’s writing here is personal and reflective, creating an atmosphere of serene beauty and introspection. The piano weaves delicate, ornamented lines that seem to float above the gentle orchestral accompaniment, emphasizing the vocal quality of the soloist’s part.
As the movement unfolds, the piano introduces new melodic ideas and elaborates on the main theme with increasing complexity. The harmonic progressions are subtle yet inventive, and the use of rubato allows performers to shape the phrases with great emotional depth. The orchestral contribution remains modest, serving as a supportive cushion that enhances the soloist’s expressiveness without overshadowing it.
Midway through the movement, a contrasting middle section introduces a darker, more turbulent character. The piano takes on a more dramatic role, with urgent, passionate passages that interrupt the otherwise tranquil mood. This brief but intense episode serves to heighten the emotional contrast and makes the return to the opening theme even more poignant.
The movement concludes with a return to the calm and lyrical character of the opening, as the piano delicately reprises the main theme, bringing the music to a gentle and introspective close. The Larghetto is a quintessential example of Chopin’s Romantic style, combining simplicity, elegance, and emotional depth in a way that captivates both performers and listeners.
3. Allegro vivace
The third movement of Chopin’s Piano Concerto No. 2 in F minor, Op. 21, marked Allegro vivace, is a lively and spirited finale that showcases both the technical brilliance and the playful charm of the soloist. Drawing inspiration from the rhythms and energy of Polish folk dances, this movement brings the concerto to an exuberant and triumphant conclusion.
The movement opens with an orchestral introduction that sets an energetic and vibrant tone. The piano soon takes over, introducing a buoyant and rhythmically engaging main theme that captures the character of a Polish mazurka. This theme is lively and syncopated, with an infectious rhythm that drives the movement forward. The piano’s role is highly virtuosic, with sparkling runs, intricate figurations, and dynamic contrasts that demand both technical mastery and stylistic finesse from the performer.
Throughout the movement, Chopin explores a range of contrasting moods. A secondary theme provides a lyrical and flowing contrast to the dance-like exuberance of the main theme, showcasing the soloist’s ability to transition seamlessly between virtuosic display and expressive warmth. The interplay between these themes creates a dynamic and engaging musical narrative, with the orchestra playing a supportive yet energetic role.
The movement’s development section intensifies the drama, with the piano navigating a series of dazzling passages that highlight the instrument’s brilliance. The rhythmic vitality and harmonic invention keep the listener captivated, as Chopin seamlessly weaves together virtuosic flourishes and lyrical interludes.
The concerto concludes with a vibrant coda, where the main theme returns with renewed energy. The tempo accelerates, and the piano delivers a final burst of brilliance, driving the music to an exhilarating and triumphant conclusion. The Allegro vivace is a fitting finale to the concerto, embodying the youthful energy and national pride that characterize much of Chopin’s music, leaving both the performer and audience with a sense of joy and excitement.
Sources
- Piano Concerto No. 2 (Chopin) on Wikipedia
- “Frédéric Chopin: Piano Concerto No.2 in F minor” on the Classic FM website
- Piano Concerto No.2, Op.21 (Chopin, Frédéric) on the International Music Score Library Project website
- “Chopin’s Piano Concerto No. 2” on My Classical Notes website
- Piano Concerto No. 2 (Frédéric Chopin) on L.A. Phil website
