프란츠 리스트( Franz Liszt) - Piano Concerto No. 1 in E flat major

                                                                                       

프란츠 리스트( Franz Liszt)

 

 

Piano Concerto No. 1 in E flat major

 

Lang Lang performs Liszt Piano Concerto No. 1 in E flat major during Last Night Proms 2011

 inside the Royal Albert Hall. Edward Gardner conducts the BBC Symphony Orchestra.

Franz Liszt composed his Piano Concerto No. 1 in E-flat major, S.124 over a 26-year

period; the main themes date from 1830, while the final version dates 1849. The concerto consists of four movements and lasts approximately 20 minutes. It premiered in Weimar

on February 17, 1855, with Liszt at the piano and Hector Berlioz conducting.

[피아노 협주곡 제1번은 종래의 협주곡과 같이 악장이 구분되어 있지 않고 4개의 악장을 1악장으로 취급한 점이 특이하다. 리스트는 제1악장에서 제3 악장까지 각각 말하기를 “그것은 테마라기보다는 동기, 혹은 베를리오즈가 사용한 고정관념 같은 것이다”라고 했다.

이 곡은 1855년 바이마르에서 베를리오즈의 지휘로 리스트 자신의 피아노 연주로 초연되었다. 다음해에는 빈에서 공연되었는데 당시 한슬릭과 같은 평론가는 ‘트라이앵글 협주곡’이라고 혹평하기도 했다. 그후 12년간 이 협주곡은 연주되지 않았으나 오늘에 와서는 뛰어난 명작으로 평가받고 있는 걸작이다.]

 

Martha Argerich, von Dohnanyi RSO 9 13 1981

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History

The main themes of Liszt's first piano concerto are written in a sketchbook dated 1830, when Liszt was nineteen years old. He seems to have completed the work in 1849, yet made further adjustments in 1853. It was first performed at Weimar in 1855, with the composer at the piano and Hector Berlioz conducting. Liszt made yet more changes before publication in 1856. Béla Bartók described it as "the first perfect realisation of cyclic sonata form, with common themes being treated on the variation principle

 

20 year old Marina Yakhlakova, winner of the first prize in the 7th International FRANZ LISZT

Piano Competition Weimar-Bayreuth, plays the Piano Concerto No.1 by Franz Liszt for the Competition Finale at the ccn Weimarhalle on October 30th, 2011.

 

The concerto consists of four relatively short movements:

1. Allegro maestoso [서주에 관악기와 현악기가 이 악장의 테마를 장엄하게 연주한다. 테마다운 테마가 없겠다고 하겠지만 이것이 다음 악장에서도 나타나고, 또 전곡을 통해 가장 중요한 테마 구실을 한다. 일정한 악식이 없는 즉흥곡풍의 악장이라고 할 것이다]



The first entrance in the first movement introduces a motive that is revisited several times.

 

The orchestra introduces the main theme of the piece with a powerful motif.^[1] It is said that the main theme was set to the words "None of you understand this, haha!" (German: “Das versteht ihr alle nicht, haha!”) to deter any criticism from critics who did not like the piece's originality.^[2] The piano then comes in with an octave passage, spanning 4 octaves. 

A duet is formed between the piano and the clarinet in a quiet and peaceful passage, yet this is soon taken over again by the main theme. Following this, the piano plays fast, downward chromatic octaves, before recapitulating a section from earlier in the movement, this time in G major. The movement finishes with the main theme played by the strings while the piano imitates a harp with fast, quiet arpeggios, culminating with an upwards chromatic scale in sixths, diminishing to ppp volume.

 

2. Quasi adagio

   [이 악장에서는 가요풍의 아름다운 선율이 중심이 된다. 여린 음으로 첼로와 베이스가 연주된 후 바이올린이 나타나며 다시 피아노로 전개된다. 얼마 후 목관에 의해 새 테마가 나타나 전개되다가 3악장으로 들어간다. ]
   The cellos and double basses introduce the Adagio section in a serene, unison cantabile, before the rest of the string section joins. Again, however, the cellos and double basses descend before the piano joins, in una corda. The piano uses the string theme and develops it further, playing in a nocturne-like style with soft, flowing left hand arpeggios and a cantibile melody in the right hand. The section reaches a climax where a strong fortissimo is played followed by a descending diminuendo scale.

   After a slight general pause, the whole orchestra joins, again playing the same theme. Then a cello plays the theme while the piano answers quickly and hurriedly with a developmental recitative section. This leads into a passage where solos in the woodwind section play a new theme while the piano plays long trills in the right hand and spread chords in the left. The passage is ended by the piano and clarinet in duet.

    

3. Allegretto vivace - Allegro animato

   [종래 협주곡의 스케르쪼에 해당되는 이 악장은 빠르고 활발하게 연주된다. 트라이앵글이 울리는 소리와 함께 가벼운 테마가 나타나는데 트라이앵글을 사용하는 것이 특징이다]

   The triangle starts the movement with a string quartet following it. Next, the piano plays the same theme, yet develops it further. This occurs over the whole movement, however previous themes from the last two movements are re-introduced and combined together to give this concerto its unique rhapsody-like form. This movement is decidedly joking in character, with the performance direction at the start of the piano line of "capriccioso scherzando", and delicate, playful duets between the woodwind and piano occurring throughout. The second half of the movement, however, takes a darker turn, when the piano, after concluding the scherzo section, plays an eerie, tremolando passage in the lower registers, with a development of the first theme played above, at pp dynamic. After this, the downward chromatic octaves reappear, but this time at p level, before the orchestra plays an ascending chromatic section, leading into a tonal recapitulation of the first theme. The movement ends with very similar music as the first movement begins, with a blistering piano passage ending in a F-diminished chord.

    

4. Allegro marziale animato

   [행진곡 풍의 악장으로 화려하게 전개된다. 3개의 동기가 뒤이어 나타나는데 여기서 제1악장의 테마가 다시 전개되다가 장엄하고 아름다운 코다로 옮겨진다]

   A descending E-flat major scale is played before the orchestra plays a new theme, the final of the concerto. The piano follows this with a blistering solo octaves passage before joining in duet with various solo woodwind instruments in a dainty, lively section, leading onto the rest of the movement, which many consider to be among the hardest music ever written for piano.

    

   The movement continues bringing out all the themes from throughout the concerto at different times and combining them sequentially.

   In the final few passages, new chromatic theme is introduced where the piano is playing semi-quavers and tripleted quavers at the same time, an exercise in polyrhythm, while in unison with the strings.

    

   The piece is finished in the bravura style Liszt is famous for, with the now-familiar downward chromatic octaves theme, played in this recapitulation at breakneck presto speed, before changing to contrary chromatic octaves, reaching the tonic key of E-flat major and fff dynamic. The orchestra alone has the last two notes, which Liszt carefully utilised to highlight the importance of the orchestra in the piece, not just as an accompanying device for the piano.