Thursday, June 07, 2018
Stenhammar's Piano Concerto #2: An obscure work sounds so familiar
Here’s another piano concerto masterpiece (no “Cakeshop”) that everyone misses. Swedish composer Wilhelm Stenhammar started out as the Swedish Bruckner (in the Symphony #1) and became more like the Swedish Brahms and sometimes Sibelius.
The Piano Concerto #2 in D Minor, Op. 23, is quite a remarkable work. I see that I mentioned it at the end of a review of #1 on May 9, 2012; but it really deserves a detailed look. It bears a certain resemblance to the Piano Concerto of Amy Beach.
Above, Greta Ericksson, piano, plays with the Swedish Radio Symphony Orchestra with Evgeny Svetlanov.
The work comprises four movements without pause, although there is quite a lot of structure within each.
The work begins modestly in triple time, with a descending figure of half-steps in the accompanying orchestra that is common to this compose. The orchestra suddenly modulates to C# minor to what sounds like a main theme, but the rest of the movement has a compressed sonata form as it tends to explore the introductory motive more. But violence returns to close out the movement (as in the Beach, which, by comparison, has a very expanded first movement). The scherzo starts with a tarantella but has an extensive middle section with a waltz theme that will sound familiar.
The 4/4 Adagio will remind the listener of late Chopin with harmonic schemes out of Op 61 – and the theme will sound familiar (Hollywood loves to take themes from obscure classical works) The orchestra will develop another motive that resembles a similar descending figure in the slow movement of Rachmaninoff’s Piano Concerto #3. The D Major Finale is a concluding romp in compound 9/8 time, with a dance theme (a bizarre kind of Polonaise-Fantasy) that will sound suspiciously familiar (Hollywood, again).
The work has many sudden key modulations, especially between D Minor and C# Minor, and sometimes uses some ideas that sound like they come from the Chopin Op. 61.