Accompanied by the London Symphony Orchestra, widely regarded as one of the greatest Chopin interpreters of his time, the Polish American classical pianist Arthur Rubinstein (January 28, 1887 – December 20, 1982) plays Chopin’s Piano Concerto No. 2 in F minor, Op. 21. Conductor: André Previn.
London Symphony Orchestra conducted by André Previn (HD video)
Frédéric Chopin’s Piano Concerto No. 2
Chopin’s Piano Concerto No. 2 in F minor, Op. 21, is a masterpiece of Romantic piano literature, composed in 1829 when Chopin was just 19 years old. It is, in fact, his first piano concerto, completed before his Piano Concerto No. 1, though published later, which explains its numerical designation. The concerto reflects Chopin’s emerging individuality as a composer and showcases his virtuosic pianism. Its lush, lyrical style and emotional depth have made it a favorite in the piano repertoire.
The concerto is primarily a vehicle for the piano, emphasizing the soloist’s expressive capabilities and technical brilliance. The orchestration, while somewhat conventional, serves as a supportive backdrop to the piano’s intricate and poetic passages. Chopin’s style leans heavily on the bel canto tradition, with melodies that emulate the vocal lines of Italian opera. This lyrical quality is evident throughout the concerto, as the piano weaves intricate arabesques and ornaments around the orchestral texture.
Composed during Chopin’s time in Warsaw, the concerto reflects his Polish heritage, particularly in its use of folk-inspired themes and rhythms. These elements are seamlessly integrated into a structure that balances classical form with Romantic freedom. The harmonic language, while rooted in tradition, shows an adventurous spirit, with unexpected modulations and rich chromaticism that heighten the emotional intensity.
The concerto was first performed in Warsaw in 1830, with Chopin himself as the soloist. Its debut was met with great acclaim, cementing Chopin’s reputation as a virtuoso pianist and a composer of extraordinary talent. The work exemplifies the Romantic ideal of the piano as a medium of personal expression, with the soloist’s voice dominating the dialogue with the orchestra.
Despite criticisms of its orchestration, often considered secondary to the piano’s role, the concerto remains a cornerstone of the piano repertoire. It provides insight into Chopin’s early compositional style, marked by a deep sensitivity to melody and a profound understanding of the piano’s expressive capabilities. The work continues to captivate audiences with its combination of technical brilliance, lyrical beauty, and emotional depth, making it a testament to Chopin’s genius and his enduring influence on Romantic music.
Movements
Chopin’s Piano Concerto No. 2 contains the three movements typical of instrumental concertos of the period: Maestoso, Larghetto, and Allegro vivace.
1. Maestoso (F minor)
The first movement of Chopin’s Piano Concerto No. 2, marked Maestoso, is a dramatic and richly expressive piece in F minor, structured in the double-exposition form typical of Classical concertos. This form allows for two distinct expositions: the first is orchestral, while the second features the piano soloist. The orchestral exposition sets the tone with a dignified and rhythmically marked theme, its dotted rhythms reminiscent of a mazurka, showcasing Chopin’s connection to his Polish roots. The orchestral introduction builds anticipation, creating a stately yet somber atmosphere.
When the piano enters, it transforms the character of the movement, immediately assuming the central role and shifting the focus to the soloist’s virtuosity and expressiveness. The orchestra transitions to an accompaniment, providing harmonic and textural support as the piano elaborates on the themes introduced earlier. The solo writing is breathtakingly intricate, filled with dazzling runs, arpeggios, and rapid scales, yet Chopin balances this technical brilliance with a lyrical and poetic quality that elevates the movement beyond mere display. The thematic material is treated with Romantic depth, blending moments of introspection with dramatic outbursts.
Chopin’s melodic genius shines through as the piano sings with cantabile lines, often resembling an operatic aria, a hallmark of his style. This cantilena-like quality contrasts with the fiery technical passages, creating an emotional range that captures both elegance and turbulence. The harmonic transitions and modulations are adventurous, adding to the drama and complexity of the piece.
Interestingly, this movement has no traditional cadenza, as the virtuosic demands of the solo part throughout render it unnecessary. Instead, the piano’s continuous, commanding presence sustains the listener’s engagement, weaving a tapestry of technical mastery and emotional expression. The movement concludes with a dramatic flourish, embodying the tension and Romantic spirit that defines Chopin’s early concerto style.
2. Larghetto (A-flat major)
The second movement of Chopin’s Piano Concerto No. 2, marked Larghetto and set in A-flat major, is an intimate and poetic interlude. Chopin himself described this movement as an outpouring of his unspoken love for Konstancja Gladkowska, a singer who captured his youthful heart, of whom he writes: “I already have my perfect one whom I have, without saying a word, served faithfully for a year now, of whom I dream, in whose memory the adagio of my concerto has been put up.”.
The Larghetto is a tender, almost dreamlike expression of longing, with its lyrical lines resembling an aria, as though the piano is singing a love song. This deeply personal and Romantic sentiment suffuses the music, making it one of the most heartfelt slow movements in the piano concerto repertoire.
The movement opens with a gentle orchestral introduction that establishes a serene and contemplative atmosphere. When the piano enters, it takes on a profoundly expressive role, with a melody that unfolds gracefully, reminiscent of a nocturne in its introspection and intimacy. Chopin employs delicate ornamentation and nuanced phrasing, lending the music an ethereal quality. The dialogue between the piano and orchestra is minimal, as the soloist dominates, weaving a narrative that feels both personal and universal.
Chopin’s harmonic language in the Larghetto is particularly striking, with subtle shifts and chromatic passages that enhance the emotional depth. The central section introduces a brief moment of agitation and tension, reflecting a fleeting inner turmoil or a pang of unfulfilled desire. However, this turbulence is resolved as the piano returns to the initial melody, now imbued with a greater sense of resolution and quiet acceptance.
The Larghetto concludes with a delicate and poignant coda, leaving a lasting impression of tenderness and melancholy. This movement captures the essence of Chopin’s Romantic ideal: music as a vehicle for profound personal expression, transcending technical virtuosity to convey the subtleties of human emotion. It stands as a testament to the composer’s ability to transform private feelings into universally resonant art.
3. Allegro vivace (F minor – F major)
The third movement of Chopin’s Piano Concerto No. 2, marked Allegro vivace, serves as a spirited and joyous finale, transitioning from F minor to a triumphant F major. Cast in a three-part, rondo-like form, this movement bursts with vitality and charm, infused with unmistakable references to Polish folk music. The dance-like rhythms and melodic contours evoke the character of the mazurka and the slower, more lyrical kujawiak, reflecting Chopin’s deep connection to his homeland and its musical traditions.
The movement begins with a lively and rhythmically intricate theme that immediately captures attention. The syncopated and off-kilter phrasing, characteristic of Polish folk dances, lends the music a playful and buoyant energy. The piano takes center stage with exuberant and technically demanding passages, yet the writing avoids excessive virtuosity for its own sake, focusing instead on creating a celebratory and engaging atmosphere.
Throughout the Allegro vivace, the dialogue between the piano and orchestra is more dynamic than in the earlier movements, with the orchestra providing robust responses and occasionally sharing fragments of the thematic material. The harmonic language remains adventurous, with modulations that heighten the movement’s sense of drama and anticipation. The middle section introduces a contrasting theme, more subdued and lyrical, offering a brief respite before the energetic material returns.
As the movement progresses, the music becomes increasingly animated, culminating in a final shift to F major. This transition imbues the ending with a radiant, triumphant quality. The rapid, cascading scales and rhythmic flourishes in the piano part propel the movement toward an exhilarating conclusion. The Allegro vivace not only brings the concerto to a vivacious close but also encapsulates Chopin’s ability to blend technical brilliance with heartfelt expression and cultural identity.
Arthur Rubinstein
Arthur Rubinstein KBE OSE GOSE (Polish: Artur Rubinstein; 28 January 1887 – 20 December 1982) was a Polish-American pianist.
He is widely regarded as one of the greatest pianists of all time. He received international acclaim for his performances of the music written by a variety of composers and many regard him as one of the greatest Chopin interpreters of his time, though recent scholarship exposes his appropriation of Chopin’s music from its original salon style. He played in public for eight decades.
In his two autobiographies, Rubinstein is often intensely self-critical. A natural pianist with a big technique, he claimed that he practiced as little as possible, learning new pieces quickly and with insufficient attention to detail, relying on his charm and charisma to conceal the lack of finish in his playing.
The literal truth of these self-directed critiques is open to question: Rubinstein wasn’t averse to making himself the butt of a good story. Even so, he insisted that his attitude toward practicing changed after his marriage. He stated that he did not want his children to see him as a second-rater, so he began in the summer of 1934 to restudy his entire repertoire.
“I buckled down back to work-six hours, eight hours, nine hours a day,” he recalled in 1958. “And a strange thing happened… I began to discover new meanings, new qualities, new possibilities in music that I have been regularly playing for more than 30 years.”
In general, however, Rubinstein believed that excessive practice could be dangerous for young pianists. Perhaps recalling his own youthful brush with repetitive stress syndrome, Rubinstein regularly advised that young pianists should practice no more than three hours a day.
“I was born very, very lazy and I don’t always practice very long,” he said, “but I must say, in my defense, that it is not so good, in a musical way, to over-practice. When you do, the music seems to come out of your pocket. If you play with a feeling of ‘Oh, I know this’, you play without that little drop of fresh blood that is necessary and the audience feels it.”
Of his own practice methods, he said, “At every concert, I leave a lot to the moment. I must have the unexpected, the unforeseen. I want to risk, to dare. I want to be surprised by what comes out. I want to enjoy it more than the audience. That way the music can bloom anew. It’s like making love. The act is always the same, but each time it’s different.”
Sources
- Piano Concerto No. 2 (Chopin) on Wikipedia
- Arthur Rubinstein on Wikipedia
- Piano Concerto No. 2, Op. 21 (Chopin, Frédéric) on the International Music Score Library Project website
- Frédéric Chopin – Piano Concerto No. 2 in F minor, op.21 on Rolf’s Music Blog
- Chopin’s Piano Concerto No. 2 on My Classical Notes website
- “Piano Concerto No. 2 in F minor, Op. 21 – Frederic Chopin” on the Pianio Blog website
- Chopin’s Piano Concerto No. 2 on the Interlude website
