{DISCLAIMER: I am far from a professional music connoisseur, this is just my shot at analyzing the piece, most of my knowledge coming mainly from reading other RUclips video analyses (thanks, Ashish). I hope you'll enjoy reading this just as much as I enjoyed writing it, and hopefully, it'll guide you too, in some way.} *I. ANDANTE MODERATO* EXPOSITION 0:00 The concerto opens with a gentle tonic (Eb) chord played by the orchestra. The piano immediately enters with warm, lyrical arpeggios, replaced by a sudden rhythm acceleration (0:16) over which Theme 1 (T1) is played by the woodwinds, melodic and intriguing. This introduction is repeated a second time, the orchestral chord replaced with a more mysterious Eb dominant 7th (Eb7) at 0:31, and a third time with an E diminished 7th, furthering the music into a darker place. A crescendo in the orchestra (1:17) ensues, leading into a brief, tumultuous piano cadenza (1:27) bringing us back to 1:38 Eb major. Theme 1 is repeated, this time by the piano in fortissimo, completely changing its mood: it has become affirmative, dominant, self-assured. An abrupt Lisztian octave passage (2:12) leads us to the orchestra’s return for the transition theme (T+), divided into two phrases: a jumpy, dwarf-like dialogue with the piano, and a contrastingly heroic D-major chordal section in fortissimo (2:42). Another cadenza ensues, leading to 3:17 G minor, Theme Group 2, Theme A (TG2-A), an enigmatic, sphinxlike melody, is played by a quasi-solo piano before being taken over by the orchestra. Yet another quick cadenza (3:55) brings us to Theme B (TG2-B), in the relative B-flat major, a lyrical phrase played multiple times, respectively by orchestra alone (4:07), piano accompanied by the orchestra (4:28), and piano alone (5:20). DEVELOPMENT 5:44 T1 comes back somewhat suddenly, developing on an F7 chord, before an abrupt Bb7 chord (6:02) starts the development of T1’s two motifs with rising chord cascades on the piano. 6:19 brief return to B-flat major for a second repeat and development of TG2-B, again by the orchestra, backed this time by arpeggios rising up and down on the piano. A brief hint at TG2-A appears at 6:55 in the orchestra. What has to be one of the most beautiful dialogues between piano and solo violin then emerges at 7:00, over an Ab chord, a short, oscillating, fragile moment that somehow always makes me think of a rose gently twirling in the wind, approaching dangerously close to a chasm. The chasm, of course, being- 7:34 Dramatic peak of the movement, a rare outburst of despair in Massenet’s music, repeated descending chromatic scales at the piano over an F minor chord stating T+, its structure inverted this time: the heroic section is played first (in Fm, then Bbm) followed by the dwarf section (7:59) by the orchestra. The piano then introduces a fughetta section (8:10), quickly joined by the orchestra, ingeniously blending T+ and TG2-A, revealing their close relationship. Another octave passage (8:57) announces the heroic return of RECAPITULATION 9:09 T1, back in the home key of Eb, this time played by the strings first, then by the piano, this time with a passionate orchestral accompaniment punctuated by majestic timpani. 9:50 T+, this time devoid of the second section, as if the dwarfs had vanquished the knight. 10:12 TG2-A, in C minor (relative minor of the home key) 10:41 TG2-B, in Eb major. At 11:00, the piano wanders off alone in a heartbreakingly beautiful passage, before the theme is restated, then giving away to a dramatic fortissimo section (12:10), finally erupting into 12:25 CODA, An exuberant conclusion punctuated by virtuosic passages, breakneck octaves, and a final, majestic Eb. *II. LARGO* 13:29 Theme, in B major. An incredibly touching, contemplative chordal progression played by piano alone, centered around Motif 1 (M1), contained within the first bar: a repeated note with a recognizable rhythm (crotchet - double-dotted quaver+demisemiquaver - two quavers - triplet). At 15:06, the orchestra gently joins in, remaining in a background, creating such a warm and at-home atmosphere one could almost - cheesy, I know - feel a fireplace crackling by their side. 15:37 M1 is repeated alternately by the orchestra and the piano, growing in size and menace each time, completely departing from the cozy impression it initially prevailed in, to branch towards- 16:05 M2 is introduced, a simple trill and upwards leap, over rising-and-falling development over diminished chords by the piano. The two elements put together depict a rather frankly creepy scene, both quietly menacing and somewhat wandering, somewhere between a nightmare and a dream. 16:31 A suddenly much warmer texture is introduced, with a transitory theme played by the piano, accompanied by woodwinds and pizzicato strings. 17:11 M1 and M2 interact, bringing back the misty-graveyard atmosphere and showing M1’s multiple facets. 17:31 The piano is left alone with M1, returning innocently to its initial key, but played much more brutally this time over a G-sharp bass (so that we don’t feel *too* much at home) 17:54 Theme 2, in G# major, played by the piano, a twirling, swaying thing backed by M2 and M1 alternately in the orchestra. The theme gets progressively more restless, emerging into a fortissimo at 18:27. At 18:44, we get brutally assaulted by brass, squawking M1 away. If the initial theme’s lullaby call had gently drifted you to sleep, you’re definitely awake now. 18:48 Theme 2 by the orchestra, in a slowed form and in C major, while the piano hammers chords away. Tension builds up until- 19:18 Dramatic peak of the movement. Tempestuous tremolo strings backup striking piano octaves over Theme 2, in E minor, yet again violently contrasting with its initial breezy nature. Over M2 in the strings, the piano rises up and fiercely descends into an erupting, cadenza-like descending chromatic line before melting into vibrating tremolos, finally leading to 19:50 A trembling, anti-climatic climax, Theme 1 returning in pianissimo in the orchestra over tremolos in the piano’s lowest register, ranking high-up as one of my favorite moments in music. At 20:32, the orchestra exits to give way to the standalone piano, voicing the theme again in a hushed tone. 21:14 Sudden return of M2, the eerie scales floating back. This time, though, the M1/M2 interaction at 21:34 hangs over a gentle major chord, as if the two motifs had finally made peace. 21:45 Theme 2 returns, in B major. 22:13 Another incredibly beautiful moment, Theme 1 coming back one last time in the orchestra over 32nd-note accompaniment by the piano, contemplative more than restless this time, always reminding me of Mendelssohn’s first piano concerto (cf: ruclips.net/video/Kj6QFnWWbNE/видео.html) 22:38 CODA: Transition theme comes back in the orchestra, the piano’s pulsating accompaniment slowly fading away into nothingness. *III. AIRS SLOVAQUES - ALLEGRO* 23:14 Introduction, a dialogue between piano and orchestra already setting the scene for the rest of the piece (while containing much material that will be reused later on): frenetic, agitated, threatening, and full of dramatic power. 23:51 T1, in C minor. A menacing, sort of gnome-like march played multiple times by piano alone, punctuated by occasional percussion. 25:01 T2, in Ab major. Grandiose, triumphant, like a knight chasing away the gnomes (remember this same setting from Mvt. 1? Massenet seemed to like this contrasting configuration) 25:15 T3, in the same key, woodwinds singing a gentle, bird-like theme accompanied by triplets on the piano evoking, perhaps, a scene by the lake. 25:35 The scene is suddenly interrupted by loud orchestral and piano octaves, announcing the return of 25:45 T1 1, moving chromatically upwards from Cm to Dbm, and then to - 26:08 Eb major for T2’s return, although this time it isn’t followed by the lake theme but a new one: 26:20 T4, in G, a jaunty, childishly playful kind of dance. At 26:56, we get a quick glimpse of T3 (triplet configuration at the piano) At 27:07, the introductory theme quickly comes back, announcing the return of 27:14 T1, still in Cm, although this time with an alternate rhythm from 27:20, growing in freneticism and agitation. At 27:34, the tension reaches a peak, before being chased away by 27:36 T3 in C, the lake scene and billowing flowers returning, chasing the gnomes yet again away. 27:57 A very brutal arrival of yet another theme, T5, in Ab major, as if the composer had been struck with a sudden burst of irritation while at the piano. The theme is split into two parts: a heated, angry, short-tempered march, and, at 28:04, a contrasting fleeting, will-o’-the-wisp kind of thing punctuated by fugitive flutes and trills in the orchestra. The two themes fight for a while, succeeding to each other, but are interrupted by the return of- 28:58 CODA: T1, with a menacing tempo acceleration growing increasingly pressuring as the theme is repeated, each time at a higher octave. 29:26 T5, as the action speeds up even more. T5 continues in a reduced form in the orchestra over piano frenzy. 29:49 One last return of T1 as the agitation reaches an apex, followed by a flurry of rising broken octaves, the concerto dramatically ending on the relative minor of the original (Eb) key.
I considered myself a very lucky man thirty years ago when I found a cassette tape of this piece for $30...wow, it was worth every penny. Now it's free on RUclips, with the score! Amazing.
I've been given exactly this gem recording for Christmas some 48 years ago, - didn't realize then what an incredible feat Marylène Dosse has pulled off there!!!!
Actually, J. Massenet is not a very underrated since his two operas Manon and Werther are among the most frequently performed French operas, but this concerto surely deserves more recognition.
I disagree with those who find this piece "boring" or "only worth listening to once". I find it to be fascinating, with just the right touch of exoticism that might have made even Saint-Saëns a bit jealous.
Normally performances by renowned, gifted pianists are of good memorable music - all that Dosse, Bolet, Richter, Klein, Brendel etc. have played and recorded is worth listening to.
I will listen to about any piano concerto once. I cant imagine listening to this one again. It is truly a juggernaut of not interesting. Certainly not the worst i ever heard. But tiresome. Give me Alkan anyday.
![Bortkiewicz - Piano Concerto No. 1, Op. 16 (Shadrina, Sukach) [Christmas Special No. 4]](http://i.ytimg.com/vi/sbBrKano384/mqdefault.jpg)
![Bortkiewicz - Piano Concerto No. 1, Op. 16 (Shadrina, Sukach) [Christmas Special No. 4]](/img/tr.png)
{DISCLAIMER: I am far from a professional music connoisseur, this is just my shot at analyzing the piece, most of my knowledge coming mainly from reading other RUclips video analyses (thanks, Ashish). I hope you'll enjoy reading this just as much as I enjoyed writing it, and hopefully, it'll guide you too, in some way.}
*I. ANDANTE MODERATO*
EXPOSITION
0:00 The concerto opens with a gentle tonic (Eb) chord played by the orchestra. The piano immediately enters with warm, lyrical arpeggios, replaced by a sudden rhythm acceleration (0:16) over which Theme 1 (T1) is played by the woodwinds, melodic and intriguing. This introduction is repeated a second time, the orchestral chord replaced with a more mysterious Eb dominant 7th (Eb7) at 0:31, and a third time with an E diminished 7th, furthering the music into a darker place. A crescendo in the orchestra (1:17) ensues, leading into a brief, tumultuous piano cadenza (1:27) bringing us back to
1:38 Eb major. Theme 1 is repeated, this time by the piano in fortissimo, completely changing its mood: it has become affirmative, dominant, self-assured. An abrupt Lisztian octave passage (2:12) leads us to the orchestra’s return for the transition theme (T+), divided into two phrases: a jumpy, dwarf-like dialogue with the piano, and a contrastingly heroic D-major chordal section in fortissimo (2:42). Another cadenza ensues, leading to
3:17 G minor, Theme Group 2, Theme A (TG2-A), an enigmatic, sphinxlike melody, is played by a quasi-solo piano before being taken over by the orchestra. Yet another quick cadenza (3:55) brings us to Theme B (TG2-B), in the relative B-flat major, a lyrical phrase played multiple times, respectively by orchestra alone (4:07), piano accompanied by the orchestra (4:28), and piano alone (5:20).
DEVELOPMENT
5:44 T1 comes back somewhat suddenly, developing on an F7 chord, before an abrupt Bb7 chord (6:02) starts the development of T1’s two motifs with rising chord cascades on the piano. 6:19 brief return to B-flat major for a second repeat and development of TG2-B, again by the orchestra, backed this time by arpeggios rising up and down on the piano. A brief hint at TG2-A appears at 6:55 in the orchestra. What has to be one of the most beautiful dialogues between piano and solo violin then emerges at 7:00, over an Ab chord, a short, oscillating, fragile moment that somehow always makes me think of a rose gently twirling in the wind, approaching dangerously close to a chasm. The chasm, of course, being-
7:34 Dramatic peak of the movement, a rare outburst of despair in Massenet’s music, repeated descending chromatic scales at the piano over an F minor chord stating T+, its structure inverted this time: the heroic section is played first (in Fm, then Bbm) followed by the dwarf section (7:59) by the orchestra. The piano then introduces a fughetta section (8:10), quickly joined by the orchestra, ingeniously blending T+ and TG2-A, revealing their close relationship. Another octave passage (8:57) announces the heroic return of
RECAPITULATION
9:09 T1, back in the home key of Eb, this time played by the strings first, then by the piano, this time with a passionate orchestral accompaniment punctuated by majestic timpani.
9:50 T+, this time devoid of the second section, as if the dwarfs had vanquished the knight.
10:12 TG2-A, in C minor (relative minor of the home key)
10:41 TG2-B, in Eb major. At 11:00, the piano wanders off alone in a heartbreakingly beautiful passage, before the theme is restated, then giving away to a dramatic fortissimo section (12:10), finally erupting into
12:25 CODA, An exuberant conclusion punctuated by virtuosic passages, breakneck octaves, and a final, majestic Eb.
*II. LARGO*
13:29 Theme, in B major. An incredibly touching, contemplative chordal progression played by piano alone, centered around Motif 1 (M1), contained within the first bar: a repeated note with a recognizable rhythm (crotchet - double-dotted quaver+demisemiquaver - two quavers - triplet). At 15:06, the orchestra gently joins in, remaining in a background, creating such a warm and at-home atmosphere one could almost - cheesy, I know - feel a fireplace crackling by their side.
15:37 M1 is repeated alternately by the orchestra and the piano, growing in size and menace each time, completely departing from the cozy impression it initially prevailed in, to branch towards-
16:05 M2 is introduced, a simple trill and upwards leap, over rising-and-falling development over diminished chords by the piano. The two elements put together depict a rather frankly creepy scene, both quietly menacing and somewhat wandering, somewhere between a nightmare and a dream.
16:31 A suddenly much warmer texture is introduced, with a transitory theme played by the piano, accompanied by woodwinds and pizzicato strings.
17:11 M1 and M2 interact, bringing back the misty-graveyard atmosphere and showing M1’s multiple facets.
17:31 The piano is left alone with M1, returning innocently to its initial key, but played much more brutally this time over a G-sharp bass (so that we don’t feel *too* much at home)
17:54 Theme 2, in G# major, played by the piano, a twirling, swaying thing backed by M2 and M1 alternately in the orchestra. The theme gets progressively more restless, emerging into a fortissimo at 18:27. At 18:44, we get brutally assaulted by brass, squawking M1 away. If the initial theme’s lullaby call had gently drifted you to sleep, you’re definitely awake now.
18:48 Theme 2 by the orchestra, in a slowed form and in C major, while the piano hammers chords away. Tension builds up until-
19:18 Dramatic peak of the movement. Tempestuous tremolo strings backup striking piano octaves over Theme 2, in E minor, yet again violently contrasting with its initial breezy nature. Over M2 in the strings, the piano rises up and fiercely descends into an erupting, cadenza-like descending chromatic line before melting into vibrating tremolos, finally leading to
19:50 A trembling, anti-climatic climax, Theme 1 returning in pianissimo in the orchestra over tremolos in the piano’s lowest register, ranking high-up as one of my favorite moments in music. At 20:32, the orchestra exits to give way to the standalone piano, voicing the theme again in a hushed tone.
21:14 Sudden return of M2, the eerie scales floating back. This time, though, the M1/M2 interaction at 21:34 hangs over a gentle major chord, as if the two motifs had finally made peace.
21:45 Theme 2 returns, in B major.
22:13 Another incredibly beautiful moment, Theme 1 coming back one last time in the orchestra over 32nd-note accompaniment by the piano, contemplative more than restless this time, always reminding me of Mendelssohn’s first piano concerto (cf: ruclips.net/video/Kj6QFnWWbNE/видео.html)
22:38 CODA: Transition theme comes back in the orchestra, the piano’s pulsating accompaniment slowly fading away into nothingness.
*III. AIRS SLOVAQUES - ALLEGRO*
23:14 Introduction, a dialogue between piano and orchestra already setting the scene for the rest of the piece (while containing much material that will be reused later on): frenetic, agitated, threatening, and full of dramatic power.
23:51 T1, in C minor. A menacing, sort of gnome-like march played multiple times by piano alone, punctuated by occasional percussion.
25:01 T2, in Ab major. Grandiose, triumphant, like a knight chasing away the gnomes (remember this same setting from Mvt. 1? Massenet seemed to like this contrasting configuration)
25:15 T3, in the same key, woodwinds singing a gentle, bird-like theme accompanied by triplets on the piano evoking, perhaps, a scene by the lake.
25:35 The scene is suddenly interrupted by loud orchestral and piano octaves, announcing the return of
25:45 T1 1, moving chromatically upwards from Cm to Dbm, and then to -
26:08 Eb major for T2’s return, although this time it isn’t followed by the lake theme but a new one:
26:20 T4, in G, a jaunty, childishly playful kind of dance. At 26:56, we get a quick glimpse of T3 (triplet configuration at the piano) At 27:07, the introductory theme quickly comes back, announcing the return of
27:14 T1, still in Cm, although this time with an alternate rhythm from 27:20, growing in freneticism and agitation. At 27:34, the tension reaches a peak, before being chased away by
27:36 T3 in C, the lake scene and billowing flowers returning, chasing the gnomes yet again away.
27:57 A very brutal arrival of yet another theme, T5, in Ab major, as if the composer had been struck with a sudden burst of irritation while at the piano. The theme is split into two parts: a heated, angry, short-tempered march, and, at 28:04, a contrasting fleeting, will-o’-the-wisp kind of thing punctuated by fugitive flutes and trills in the orchestra. The two themes fight for a while, succeeding to each other, but are interrupted by the return of-
28:58 CODA: T1, with a menacing tempo acceleration growing increasingly pressuring as the theme is repeated, each time at a higher octave.
29:26 T5, as the action speeds up even more. T5 continues in a reduced form in the orchestra over piano frenzy.
29:49 One last return of T1 as the agitation reaches an apex, followed by a flurry of rising broken octaves, the concerto dramatically ending on the relative minor of the original (Eb) key.
a mf said not proffesional and pulled up an essay
Thank you.
X❤ crew
It's a pity that people only know Massanet from the Mediation from Thais, as this is one delightful piece of music.
Opening reminds me of Saint-Saens Piano Concerto No. 3 and the opening of Wagner's Das Reingold
And the cadenzas at the opening might also be a very chill version of Beethoven's Emperor concerto.
I considered myself a very lucky man thirty years ago when I found a cassette tape of this piece for $30...wow, it was worth every penny.
Now it's free on RUclips, with the score! Amazing.
Some weird transitions seem to have invaded the video at 23:40 and 27:03, sorry 'bout that!
Really makes me think of a more advanced tonally Saint-Saens ! Brilliant and thoughtful !
I've been given exactly this gem recording for Christmas some 48 years ago, - didn't realize then what an incredible feat Marylène Dosse has pulled off there!!!!
I am always fascinated and moved by a concerto that finishes with a relative minor.
Thanks for the upload and info!
Scandaleux que ce concerto ne soit jamais, ou presque, joué !
Parce qu'il est tellement difficile et alors inconnu à un public qui docilement accepte les répertoires standards sans se révolter.
Massenet is surely one of the greatest French composers.
ぎゅうぎゅう詰めな音楽が多い中この簡素な内容は私の好みです
quite striking!
Lovely
Great!! 🎉
Actually, J. Massenet is not a very underrated since his two operas Manon and Werther are among the most frequently performed French operas, but this concerto surely deserves more recognition.
Great work and exellent interpretation and sound !
I disagree with those who find this piece "boring" or "only worth listening to once". I find it to be fascinating, with just the right touch of exoticism that might have made even Saint-Saëns a bit jealous.
Normally performances by renowned, gifted pianists are of good memorable music - all that Dosse, Bolet, Richter, Klein, Brendel etc. have played and recorded is worth listening to.
the beginning sounds so much like Das Rheingold
Hi😊
a lot of nice music, but without saying much
I’m glad he wrote one but it seems to belong to the rather charmless Alkan school of French technique
A pleasant curiosity but loses interest quite quickly
This
I will listen to about any piano concerto once. I cant imagine listening to this one again. It is truly a juggernaut of not interesting. Certainly not the worst i ever heard. But tiresome. Give me Alkan anyday.
Nah. Alkan is even more boring and pretentious. But yeah both are wasted potential