Piano concerto no. 2, in B flat major, op. 83 by Brahms, Ashkenazy, Mehta, London Symphony Orchestra London CS 6539 Publication date 1967

 Brahms’ first piano concerto in D minor, a comparatively youthful work, aroused considerable critical

opposition when it was performed in Leipzig in 1859; his second concerto, written more than twenty years later,

has always been an established favourite. It belongs to the period of Brahms’ maturity, coming in date between

the violin concerto and the third symphony, and is one of his biggest and most powerful works. It is unusual

in form in that it has four movements instead of the customary three; Brahms is said to have remarked ironically

that the long and complex first movement was too ‘’simpel’’, and he therefore added a scherzo-like second

movement. References to the work in his letters also give an enigmatic clue to his feelings: to Elisabet von

Herzogenberg he wrote, °’! must tell you that | have written a just a little Piano Concerto with a just a little

sweet Scherzo,” and to Theodor Billroth, his Viennese surgeon friend, “I’m sending you a few small pieces

and beg that you show them to no-one else.’’ The concerto is dedicated to Eduard Marxsen (1806-1887), a

Hamburg musician who was Brahms’ teacher in his youth. It was first performed at Meiningen in 1882, with the

composer as a soloist.

First Movement: Allegro non troppo

The form of the first movement follows in general that of most classical concertos — double exposition,

development, recapitulation and coda. The first main theme is heard immediately on solo horn, joined by the

piano in the second bar; the orchestra continues the quiet mood with a flowing phrase, which is interrupted by

a violent outburst on the part of the soloist. This leads eventually to a long passage for orchestra alone,

beginning with a forte statement of the opening theme, and continuing later with an expressive melody for the

violins. After another more agitated figure, the soloist re-enters with massive chords; then comes a restate-

ment, beginning with the opening theme, of most of the material heard so far, but in varied form, and with new

phrases added. The development section follows without a break: here all the themes are treated with the

greatest freedom and ingenuity. The beginning of the recapitulation is signalled by the quiet entry of the open-

ing theme under shimmering piano figures, followed by the soloist’s opening phrase; the main material is heard

again, in a slightly varied order, and at last the first theme brings the movement to a brilliant and exciting

end.

Second Movement: Allegro Appassionato

The Scherzo is in the usual three-part form; the soloist begins at once with the first main theme,

answered by the orchestra, which later introduces a second, quieter theme in bare octaves — this is repeated

by the piano over arpeggio figures. Both themes are discussed at length, and rise to an orchestral climax,

which leads straight into the trio. Here the orchestra sets out a jovial theme in major chords, answered by the

soloist in pianissimo double octaves. After the trio has reached its climax, the soloist reintroduces the main

theme of the Scherzo, which follows in full and leads to a powerful and dramatic conclusion.

Third Movement: Andante

The opening of the slow movement is in complete contrast. There is a long orchestral exposition, with

an expressive melody for solo ‘cello, later joined by violins and woodwind. At last the soloist enters

quietly with an arpeggio figure; gradually the mood becomes more agitated, and the piano has recitative-like

Passages against orchestral tremolos, interspersed with fragments of the opening ‘cello theme. Finally the

excitement dies down; the key changes to F sharp major, and the opening theme returns at first in the orches-

tra alone, and later accompanied by piano trills and arpeggios in its original key of 8 flat. The coda dies away

quietly with a reference to the piano’s opening arpeggio figure.

Fourth Movement: Allegretto grazioso

The Finale begins with a sprightly theme, announced by the soloist and repeated by the orchestra; then,

after an orchestral tutti, the key changes to A minor, and the second group of themes appears. This begins

with an expressive theme in thirds and sixths on the woodwind; then the piano introduces a quieter figure

which is immediately repeated by the clarinets; and finally the soloist gives’ out a rapid semiquaver theme:

which is also taken up by the orchestra. After the first two themes of this group have been heard again, the

Opening theme of the movement returns, and is discussed at some length, passing through various keys.

Finally it returns to the main tonality of 8 flat, and leads to the recapitulation. This follows the course of the

exposition more or less exactly, apart from some compression of the second group of themes; then the tempo

changes to wn poco piu presto, and the opening theme reappears in 6/8 time, in the solo part. This leads to an

exciting coda, based almost entirely on the opening theme, and with it the concerto comes to a brilliant and

dazzling conclusion. {t is one of Brahms’ most varied and successful works; the solo part, though difficult

and exhausting to play, has tempted all the great pianists of the past and present, and the concerto well

deseryes its honoured piace in the repertoire.

TIMINGS FOR THIS RECORDING APPEAR ON THE LABEL.