Ivo Pogorelich, Claudio Abbado Pt2-5 Tchaikovsky Piano Concerto No.1 2/3 Allegro non troppo e molto
Pyotr Il'yich Tchaikovsky (1840-1893)
Piano Concerto No. 1 in B flat minor, Op. 23
1 Allegro non troppo e molto maestoso -
Allegro con spirito
Part 1 1of3;2of3;3of3 (3 parts)
2 Andantino simplice - Prestissimo Part2
3 Allegro con fuoco Part3
Ivo Pogorelich, piano
an operbathosa video
Question of the introduction Part2
The well-known theme of the introductory section to the first movement is based on a melody that Tchaikovsky heard performed by blind beggar-musicians at a market in Kamenka, near Kiev in Ukraine. This, the best-known passage in the entire concerto, was notable for a considerable time after its composition on its apparent formal independence from the movement and the concerto as a whole. This sense of independence seemed to be highlighted by being not in the work's nominal key of B flat minor but in the relative major key of D-flat. Despite its very substantial nature, the theme is only heard twice, and never subsequently reappears in the concerto. Musicologist Francis Maes writes that because of its independence from the rest of the work,
For a long time, the introduction posed an enigma to analysts and critics alike.... The key to the link between the introduction and what follows is ... Tchaikovsky's gift of hiding motivic connections behind what appears to be a flash of melodic inspiration. The opening melody comprises the most important motivic core elements for the entire work, something that is not immediately obvious, owing to its lyric quality. However, a closer analysis shows that the themes of the three movements are subtly linked. Tchaikovsky presents his structural material in a spontaneous, lyrical manner, yet with a high degree of planning and calculation.
Maes continues by mentioning that all the themes are tied together by a strong motivic link. These themes include the Ukranian folk song "Oy, kryatshe, kryatche ..." as the first theme of the first movement proper, the French chansonette, "Il faut s'amuser, danser et rire." (Translated as: One must have fun, dance and laugh) in the middle section of the second movement and a Ukranian vsnyanka or greeting to spring which appears as the first theme of the finale; the the second theme of the finale is motivically derived from the Russian folk song "Podoydi, podoydy vo Tsar-Gorod" and also shares this motivic bond. The relationship between them has often been ascribed to chance because they were all well known songs at the time Tchaikovsky composed the concerto. It seems likely, though, that he used these songs precisely because of their motivic connection and used them where he felt necessary. "Selecting folkloristic material," Maes writes, "went hand in hand with planning the large-scale structure of the work."
Tchaikovsky authority Professor David Brown essentially agrees with Maes, further suggesting that Alexander Borodin's First Symphony may have given him both the idea to write such an introduction and to link the work motivically as he does, though he also mentions a four-note musical phrase ciphered from Tchaikovsky's own name and a three-note phrase likewise taken from the name of soprano Désirée Artôt, with whom the composer had been engaged some years before.
 Disagreement with Rubinstein
There is some confusion as to whom the concerto was originally dedicated. It was long thought that Tchaikovsky initially dedicated the work to Nikolai Rubinstein, and Michael Steinberg writes that Rubinstein's name is crossed off the autograph score. However, Brown writes that there is actually no truth in the assertion that the work was written to be dedicated to Rubinstein. Tchaikovsky did hope that Rubinstein would perform the work at one of the 1875 concerts of the Russian Musical Society in Moscow. For this reason he showed the work to him and another musical friend, Nikolai Hubert, at the Moscow Conservatory on Christmas Eve 1874/January 5, 1875, just three days after finishing its composition. Brown writes, "This occasion has become one of the most notorious incidents in the composer's biography." Three years later Tchaikovsky shared what happened with his patroness, Nadezhda von Meck: