2025-26 Program Book - Other - Page 44
Piano Concerto No. 1, Op. 15 (1858)
JOHANNES BRAHMS
(May 7, 1833-April 3, 1897)
For young composers in the 1850s, like Johannes
Brahms, the choice became whether to build on
Beethoven’s work or to rebel against it. He chose
the former. Piano Concerto No. 1 is Brahms’s first
published orchestral work. Brahms began composing
it in 1854 as a piece for two pianos, inspired by his
friendship with Clara and Robert Schumann. As the
piece developed, he first explored the possibility of
turning it into a symphony in 1855, and finally settled
on making it a concerto in 1856. He made a conscious
attempt to integrate the solo piano more fully with the
orchestra. He also took a more symphonic approach
to the piece as a whole, with wide and abrupt dynamic contrasts, longer sections
and movements, varied orchestration, and extended harmonies, demonstrating his
knowledge of the past and vision of the future.
The first movement, in particular, has been linked to two events important to Brahms:
his response to Beethoven’s monumental Ninth Symphony and Robert Schumann’s
attempted suicide in 1854. The orchestral exposition is quite symphonic, with a
loud, dramatic opening that returns frequently and a lyrical second theme that is
quite passionate, supported by dark chords. The piano enters, plays both themes,
and then the soloist and orchestra take turns developing the themes, sometimes
loud, other times lyrical. The movement ends with a dramatic flourish.
The second movement is a tender tribute to Brahms’s friendship with Clara
Schumann. The movement has three parts, with a middle section that elaborates on
the melody, extends the harmonies, and adds more complex harmonies. The return
of the first tender section is poignant, and the movement ends peacefully. The third
movement is a Rondo, and the piano has the honor of starting alone. The mood is
more aggressive at the start, contrasted with a second theme that is much more
lyrical. These moods alternate and the soloist is given many opportunities to shine.
A fugue breaks out in the orchestra while the soloist gets a breather. When the piano
comes back in, it builds on the fugue subject, until the first theme returns one more
time, and the piano and orchestra take turns, appearing to try and outdo each other
with flashy passages and surprising dynamic contrasts. After one final buildup to a
long cadenza, the piano and orchestra work together, through a few sentimental
phrases that suggest the concerto will end peacefully. The soloist, however, finally
takes the reins and pushes the piece to a final majestic flourish.
This concerto was first performed on January 22, 1859, in Hanover, Germany, with
Brahms at the piano. It was not received well, and the same was true for several
subsequent performances. He made some revisions and after it was finally published
and had been heard a few more times, the piece gradually worked its way into the
standard repertoire. It is considered a masterwork today.
44 CLASSICAL SERIES BRAHMS & ELLINGTON
