PIANOFORTE CONCERTO, NO. 1, IN E FLAT
Liszt’s E flat concerto, long the subject of scurrilous criticism because forsooth a triangle was indicated in the score, has long been the virtuoso concerto par excellence. But its virtuosity is of an unusual order. It does not display its innate quality to the precise and composed technician; it cannot be played complacently or casually. It demands an audacious, unhesitating bravura, large rhetorical phrases, bold accents, and a careless contempt for its difficulties. Its octave cadenzas suggest the remorseless dash of an eagle upon its prey.
This concerto was completed probably in 1848 or 1849, from sketches made in the early ’forties. According to a letter of Hans von Bülow’s, the concerto was completed in June, 1849. Revised in 1853, it was published in 1857. The first performance was at Weimar, at a Court concert in the hall of the Grand Duke’s palace (during the Berlioz week), on February 17, 1855; Liszt, pianist; Bülow, conductor. The concerto is dedicated to Henri Litolff. The orchestral part is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones, kettledrums, cymbals, triangle, and the usual strings.
The form is free. A few important themes are exposed, developed; they undergo many transformations in rhythm and tempo. The first and leading theme is at once given out imperatively by the strings, with interrupting chords of wood-wind and brass. This is the theme to which Liszt used to sing: “Das versteht ihr alle nicht!”—according to Bülow and Ramann, “Ihr Könnt alle nichts.” This theme may be taken as the motto of the concerto. Allegro maestoso, tempo giusto, 4-4. The second theme, B major, quasi adagio, 12-8, is first announced by muted violoncellos and double basses and then developed elaborately by the pianoforte. There are hints of this theme in the preceding section. The third theme, E flat minor, allegretto vivace, 3-4, in the nature of a scherzo, is first given to the strings, with preliminary warning and answers of the triangle, which, the composer says, should be struck with delicately rhythmic precision. The fourth theme is rather an answer to the chief phrase of the second than an individual motive. The scherzo tempo changes to allegro animato, 4-4, in which use is made chiefly of the motto theme. The final section is an allegro marziale animato, which quickens to a final presto.
The introduction of the triangle in the score caused great offense in Vienna. Hanslick damned the work by characterizing it as a “‘Triangle’ concerto,” when Pruckner played it there in the season of 1856-57. It was not heard again in that city until 1869, when Sophie Menter insisted on playing it. Liszt wrote a letter in 1857 describing the concerto and defending his use of the triangle.
CHARLES MARTIN
LOEFFLER
(Born at Mühlhausen [Alsace], January 30, 1861; died at Medfield, Mass., May 19, 1935)