c onc e r t o no . 1 i n d m i no r f o r p i ano and o r c h e s t r a , o p . 1 5 JOHANNES BRAHMS (1833-1897) The Piano Concerto in D minor is the first concerto Brahms composed. He worked on it between 1854 and 1858 and it was premiered on 22 January 1859 in Hanover with the composer as soloist. It was published only in 1861. All of Brahms' concertos (the two for piano, the violin concerto and the "double" concerto for violin and cello) present a very clear symphonic approach, although the solo parts demand the performer's technical prowess and total control of the instrument. All four concertos clearly demonstrate Brahms' amazing ability to develop ideas and themes which, under his loving and caring hand, emerge and develop as the melodies flower and bloom and the structure becomes complex and intriguing. The first piano concerto is characterized by symphonic dimensions and style with a virtuoso solo part, which fully expresses Brahms' deep and intimate knowledge of the piano. The symphonic approach is obvious already in the first bars of the concerto, which caused Bruckner (who was not that fond of Brahms) to state that Brahms "began with a theme fit for a symphony". Over a continuous timpani roll and long sustained notes in the basses and winds, the strings play an agitated theme, full of powerful emphases and sharp trills, projecting gloom and tension. This bursting opening undoubtedly exceeds the usual piano concerto dimensions. It also attests to the affinity of the concerto to Beethoven's Ninth Symphony, which deeply impressed Brahms, an affinity expressed not only in the identical tonality (D minor) but also in the highly charged atmosphere and the intensity of expression. The complexity and thematic wealth of the first movement are embodied in five different themes and in the fact that from its first entrance the piano presents material which is contrasting to the theme which opens ca. 44 mins. Maestoso Adagio Rondo: Allegro non troppo
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