![]() ![]() The strings then reassert the melody in its original form - and all this is only the introduction to the first movement proper. ![]() Tchaikovsky initiates a great formal surprise by going straightway into a full-fledged cadenza for the piano solo, a powerful treatment of the theme. Its arresting opening horn call, with bold orchestral chords interrupting, leads immediately to one of the most recognizable and beloved of classical melodies, played by strings with rich harmonic support from the piano solo. The form of the concerto is lopsided: possessing a notably large scale introduction, the broad melodies of the first movement run its length out to nearly 25 minutes, more than the length of the two remaining movements combined. It has been a giant success, virtually the epitome of the romantic piano concerto, ever since. Von Bülow took the concerto back to Europe, where it was quickly added to the repertoire of other leading pianists even Rubinstein started playing it in 1878. The audience was enraptured and demanded a repeat of the entire final movement. The premiere fell to Hans von Bülow, who played it first in Boston, October 15, 1875. Although there are no really substantial changes, he did subject the concerto to some minor revision before it was printed, as happens with most compositions. Tchaikovsky wrote that he responded, "I shall not change a single note, and I shall publish the concerto as it is now." He continued in his reminiscence, "And this, indeed, I did." Well, not entirely. Later Rubinstein called him back and detailed a list of changes that must be made by a certain date if Rubinstein were to perform it. Rubinstein responded with a torrent of castigation, made famous by Tchaikovsky's own recollection. On Christmas Eve 1874 he played the concerto for Rubinstein (its intended soloist) in an empty classroom. Although Tchaikovsky was already an accomplished composer (having already produced his first two symphonies, a string quartet, and two notable tone poems, all of these successful and enduring works), he still sought the approval of mentors such as Balakirev and Nicolas Rubinstein. ![]()
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