The Two Concertos for 2 Piano and Ochestra

Abstract

Even though he did not in fact become the next Mozart, Felix Mendelssohn possessed a command of the musical syntax rivaled only by his great predecessor and in fact some of Mendelssohn's teenage works surpass those of the Austrian wonder at a comparable age. Unfortunately, in these early years, he endured the taunts of critics and pedantic academics who mistook his effortless grace for mere flamboyance and refused to take his works seriously. Even in the twentieth century, it was earnestly supposed that Mendelssohn's music was lacking in substance because he had been a child of privilege and experienced life only through rose colored glasses and off of silver spoons. Of his earliest years, two amazing masterpieces have emerged. These would be the Concerto for Violin, Piano, and String Orchestra in D minor and the Concerto for Two Pianos and Orchestra in E. Both were products of a fourteen year-old boy and both plumb depths and soar to heights most composers do not reach in a lifetime of trying. The two piano concerto exhibits an uncanny balance between the instruments such that they seem to blend perfectly and yet it is immediately obvious that a single instrument could not perform the work alone. Crafted as a birthday gift for his likewise musically precocious sister, Fanny, the piece was premiered by the two of them on her birthday, 14 November, in 1824. Given its scope and difficulty, it is evident both were virtuoso performers in addition to their creative bents. Conventionally arranged in three movements, the concerto opens in a pure, Classic vein with an extended introduction which Mozart could have written. At length the pianos enter, one at a time, and a spirited dialogue ensues. But very soon it is evident Mendelssohn has already veered across the line to Romanticism. Sweeping themes and chromatic surprises break out and surprise cadences and shifts in atmosphere abound. Throughout, the two pianos are equal partners—evidence of Felix's respect for his sister's ability. The movement ends with a robust coda which could be the finale of a lesser work. The second movement is a surpassingly fine adagio and Mendelssohn again allows the orchestra the privilege of opening with an extended prelude before the pianos—again, one a a time—bring on a hesitant but lovely theme. The movement concludes with a long passage of marvelous triplets from both pianos against a soft, simple melody in the strings. It is perfect counterpoint but far too inspired to be a mere exercise. In the finale, the pianos announce themselves with a fluttering dialogue and the movement breaks out in great, symphonic stomping with both pianos weaving effortlessly through it. Mendelssohn successfully builds tension and drama through an ascending motif in both soloists and orchestra and the work finally swerves to an amazing coda which features chilling pianistic pyrotechnics and an abrupt conclusion. The concerto is mature, large, and satisfying and in every sense a true Romantic piano concerto. That it is the work of an adolescent makes it wondrous.

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