The first version of Concerto No. 1 for piano and orchestra by Piotr Ilich Tchaikovski dates from 1874. At that point in his life, 34 years, and despite his nervous breakdowns, Piotr had already established himself as a composer. So he didn't like the comments he received from keyboard virtuoso Nikolai Rubinstein when he played his first piano concerto before him. Nikolai was his friend, he was the one who had accompanied the provincial Piotr Ilich in his early years in Moscow, showing him the city and opening to him, later, many non-easy doors to cross.
It was Christmas of 1874, and Piotr and Nikolai had been invited to welcome the Russian Santa in the house of a common friend. Nikolai asked Piotr to take his new score so that, on his way to the friend's house, they would go to the Conservatory to examine the just-ended concerto. Piotr agreed with pleasure because he wanted to hear the opinion of a virtuoso, and learn his technical thinking about the many arduous passages the concerto had at that time, and still has. (Interestingly enough, Tchaikovsky was not a piano virtuoso).
When he finished playing the initial movement, Nikolai remained mute, without saying a word. Piotr was not daunted and continued with the other movements.
–Well...? –He asked at the end of the full concerto.
Nikolai spared no irreverence. He said that the concerto was worthless, that it was unenforceable, that the themes were unfortunate, in short, he treated Piotr as an inexperienced and incapable beginner. This, at least, was what Piotr Ilich understood. Three years later Tchaikovsky shared what happened with his patroness, Nadezhda von Meck:
"I was not only astounded but outraged by the whole scene. I am no longer a boy trying his hand at composition, and I no longer need lessons from anyone, especially when they are delivered so harshly and unfriendlily."But all this was not easy for Nikolai. Piotr had planned to dedicate the concerto to this virtuoso of his time but, having cooled the relations as a result of the rude incident, he finally dedicated it to the pianist and director Hans von Büllow, a great admirer of the Russian composer, and who premiered the concerto with him as a soloist in Boston, USA, in 1875, and then conducted it everywhere to great success. Nevertheless, Nikolai's suggestions didn't fall on deaf ears because fifteen years later Tchaikovski redrafted completely the piano part, making the concerto, since then, a favorite piece of piano virtuosos, Nikolai Rubinstein included.
Movements:
I. Allegro non troppo e molto maestoso - Allegro con spirito
The movement, unusually long (20 min), is opened by the entire orchestra, then enters the main theme carried by the strings accompanied by the magnificent piano chords that have made the entire concerto famous. The movement, a kind of duel between the piano and the orchestra, presents a number of major challenges for the soloist.
II. Andantino semplice - Prestissimo (20:45)
It begins with a theme of great delicacy that first exposes the flute being picked up later by the piano. A central part – prestissimo – serves as a contrast for its lightness and its three-four time.
III. Allegro con fuoco (27:19)
It is built on themes based on Russian dances or folk rhythms. The first theme, rhythmically, shows a strong Russian character. In the final coda, the first theme is heard again, to lead to a thunderous and enormously vigorous ending, which requires the pianist to perform the famous "octave passage" that only some virtuosos manage to address successfully. Anna Fedorova is one of them.
The Nordwestdeutsche Philharmonie led by Yves Abel.
