Concerto for Piano and Orchestra No. 2 in B-flat major, Op. 83 Johannes Brahms Born 1833 in Hamburg, Germany Died 1897 in Vienna, Austria Johannes Brahms composed his Second Piano Concerto between 1878 and 1881. The first public performance was given in 1881 in Budapest by the orchestra of the National Theater, with the composer as soloist and Alexander Erkel conducting. The work is scored for solo piano, 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani and strings. “I have written a tiny little piano concerto with a tiny little wisp of a scherzo,” wrote Brahms, describing his Second Piano Concerto to a friend. That was Brahms’ sense of humor for you: he was describing this mammoth concerto, enlarged more than usual by the addition of a fourth movement (the Scherzo), and frequently referred to as a “symphony for piano and orchestra.” It might have been called the “Italian Concerto.” In the spring of 1878 Brahms made the first of several vacation trips to Italy and Sicily, where he greatly enjoyed “the Italian spring turning into summer.” Upon his return to Austria he sketched the concerto and then put it aside for three years. After another Italian holiday in 1881 he returned to the score, completing it in July of that year. The opening Allegro non troppo begins with a horn call that is the seed of the entire movement. The piano interacts with this call, a lyrical wind passage ensues, and the piano launches into a cadenza. By now we know we are in for an epic journey, for all this is merely the introduction to the movement itself! The exposition lays out an abundance of themes that are then given an intense development. The opening horn theme—transformed many times along the way—now returns to close the movement with great resolve. Brahms originally composed the dramatic Scherzo for his Violin Concerto, but it was dropped from that work on the advice of Joachim, the intended soloist. This movement's vast proportions, stormy development and heroic trio are part of what gives the concerto its symphonic scope. The eloquent Andante features an expressive lead for solo cello, which gives out the thematic source for the movement. This sweet opening music contrasts with an agitated middle section, and returns once again at the close. The Finale: Allegretto grazioso is an unusual rondo that is based upon three themes. The movement develops not as a strict rondo but as an inventive combination of the rondo and sonata forms. With a Finale of such a grand scale, you might expect a fiery apotheosis in the symphonic manner, but Brahms eschews melodrama in favor of lyricism and unmatchable craft. Program Notes 63 ©2016 Mark Rohr | Questions or comments? markrohrprogramnotes@gmail.com
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