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This site introduces unknown Emanuel Bach (C. P. E. Bach). This English version was translated from Japanese one by ChatGPT.

Tchaikovsky Piano Concertos Nos. 2-3

1. The Impact of No. 1

No. 1 achieved immediate success with its grand opening, dramatic structure, and beautiful melodies. As a result, subsequent piano concertos are often compared to it, and other works by the same composer tend to be viewed as lacking the impact of No. 1.

2. Formal and Content Issues in Nos. 2 and 3

No. 2 (B-flat major, Op. 44)

• Length and Structure Issues: The original version is very long, especially the second movement, which features extensive interplay between the piano and violin or cello, making it feel more like a “chamber concerto” than a “piano concerto.” This can be burdensome for soloists and orchestras, and it may also be challenging for audiences to maintain focus.
• Debate Over Revised Version: Although the shortened and revised version by Alexander Siloti is sometimes performed, opinions are divided between those who prefer the original version, limiting its programming opportunities.

No. 3 (E major, Op. 75)

• Unfinished Work: Tchaikovsky only completed the first movement of No. 3, leaving the other movements as unfinished sketches. This lack of completion as a “piano concerto” severely limits its performance opportunities.
• Weak Musical Uniqueness: Even the completed first movement is sometimes criticized for lacking the melodic appeal and dramatic elements of No. 1.

3. Performance Difficulty and Soloist Preference

• Tchaikovskyʼs piano concertos, including No. 1, are extremely challenging to perform. No. 2, in particular, is lengthy and technically demanding, requiring significant effort to perform in recitals.
• Many pianists tend to prioritize popularity in recitals and concerts, often choosing No. 1. As a result, Nos. 2 and 3 are performed less frequently, creating a vicious cycle.

4. Audience Reception

No. 1 has a grand theme and clear drama, making it easily appealing to first-time listeners. In contrast, Nos. 2 and 3 are somewhat complex, and parts like the second movement of No. 2, where instruments other than the piano are prominently featured, may feel outside the expectations of a piano concerto.

For these reasons, while No. 1 stands out in popularity, Nos. 2 and 3 are not performed as often. However, No. 2 has its own unique charm, and the first movement of No. 3 is a valuable work, so it would be great if these pieces received more attention.

Asked ChatGPT4o: "How frequently were these pieces performed at the time they were composed?"

Considering the performance situation of Tchaikovskyʼs Piano Concertos Nos. 1, 2, and 3 at the time they were composed, the following background can be noted.

No. 1 (B-flat minor, Op. 23)

• Premiere: After being rejected by Nikolai Rubinstein in Moscow in 1875, Tchaikovsky entrusted the piece to German pianist Hans von Bülow, who premiered it in America to great success.
• Reception: It quickly gained international recognition and was frequently performed in major cities across Europe and America. Its flashy and captivating opening attracted audiences, establishing it as one of Tchaikovskyʼs signature works.
• Performance Frequency: It was performed very frequently from shortly after its composition, becoming a standard concert repertoire by the late 19th century.

No. 2 (B-flat major, Op. 44)

• Premiere: Premiered in Moscow in 1881 with Sergei Taneyev as the soloist. Although the premiere was successful, it did not receive the same level of acclaim as No. 1.
• Reception: Tchaikovsky himself liked this piece and considered it as valuable as No. 1, but performers and critics criticized its length and structure. The chamber music-like character of the second movement, in particular, was seen as “unconcerto-like,” possibly hindering its popularity.
• Performance Frequency: It was performed a few times in Russia in the years following its premiere, but it did not achieve international popularity like No. 1. Alexander Silotiʼs revised version gained some performance opportunities in the 1900s, but its frequency remained limited.

No. 3 (E major, Op. 75)

• Premiere: Premiered posthumously in 1895 in St. Petersburg by Alexander Siloti.
• Reception: No. 3 is unfinished, with only the first movement completed. As a result, it lacks the completeness of a piano concerto, and the initial reception was often “interesting but leaves an unfinished impression.”
• Performance Frequency: It was performed a few times in Russia after its premiere, but very rarely compared to Nos. 1 and 2, and it received little international attention. Later, Mikhail Pletnev attempted to reconstruct it as a suite based on sketches, but its performance frequency remains extremely low.

Background and Influence at the Time

• Impact of No. 1: The explosive success of No. 1 raised expectations too high for the composer, audiences, and performers, leading to harsher evaluations of Nos. 2 and 3.
• Differences Between Russia and Abroad: No. 2 received some recognition in Russia at the time, but its international spread was limited. Meanwhile, No. 3, being unfinished, had very limited performance opportunities.

Overall, the overwhelming success of No. 1 meant that Nos. 2 and 3 were not frequently performed even at the time. Particularly, No. 2 gained some attention with the Siloti version after the composerʼs death, but it continued to be rarely adopted in concert programs.

Asked ChatGPT4o: "No. 2 seems to have been written before Symphony No. 5, but when listening to it, it seems to have many similarities with Symphony No. 6. In any case, it seems that the many similarities with other concertos and symphonies are a reason why it is not well received by audiences."

Thatʼs an interesting perspective. Tchaikovskyʼs Piano Concerto No. 2 (composed in 1879-1880) was indeed written before Symphony No. 5 (1888), but as you mentioned, it lacks distinctiveness compared to his other works, which may affect its popularity. Additionally, the perceived similarities with Symphony No. 6 (1893) are intriguing. Letʼs delve into these points further.

1. Commonalities Between Piano Concerto No. 2 and Other Works

Relation to Symphony No. 5

• Emotional Expression and Form: The dramatic development and romantic lyricism of No. 2 foreshadow the atmosphere of No. 5. There are similarities in the use of heavy orchestration and melancholic melodies.
• Motivic Development: The method of thematic motivic development seen in both works is a hallmark of Tchaikovsky, but it can be perceived as “lacking freshness.”

Relation to Symphony No. 6

• Emotional Depth: No. 2, particularly in the second movement, emphasizes melancholy and introspective emotions, reminiscent of the emotional depth of Symphony No. 6 (“Pathétique”).
• Orchestration Techniques: Tchaikovskyʼs characteristic rich harmonies and colorful orchestration may contribute to the perceived similarities with No. 6.

Relation to Piano Concerto No. 1

• Difference in Brilliance: Compared to No. 1, the themes and structure of No. 2 lack flamboyance and may feel subdued. Especially when compared to the dramatic opening of No. 1, No. 2ʼs more relaxed beginning has a weaker immediate impact on the audience.
• Technical Difficulty: No. 2 is also very challenging pianistically, but it lacks the prominent, dazzling cadenzas of No. 1, making it less appealing to audiences.

2. Reasons Why Commonalities with Other Works Are Not Well Received by Audiences

• Saturation of “Tchaikovsky-ness”: Tchaikovskyʼs works are characterized by emotional and beautiful melodies and rich orchestration, but when perceived as excessive, they may give audiences an impression of lacking novelty.
• Mismatch with Audience Expectations: The “dramatic drama” and “brilliance” expected from No. 1 are diminished in No. 2, possibly leading to a perception that it does not meet audience expectations.
• Ambiguity Between Symphony and Concerto: In No. 2, particularly in the second movement, there are moments where the orchestra or solo instruments (violin and cello) stand out more than the piano, giving an impression closer to chamber music or symphonic works rather than a concerto. This may not appeal to audiences seeking “concerto-ness.”

3. Possibility of Re-evaluation of the Work

On the other hand, from a modern perspective, No. 2 possesses a unique beauty different from other works. The chamber music-like elements of the second movement and the dance-like lightness of the third movement demonstrate Tchaikovskyʼs diversity, offering room for re-evaluation.

In summary, the many elements shared with other works and the perceived lack of uniqueness in No. 2 may be part of the reason for its infrequent performances. Nevertheless, with its unique charm, broader performances of this piece could lead to new discoveries.

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