Structure
This work is written in two movements and lasts approximately 30 minutes.
- Quasi rondo: Andante mosso
- The quasi part of the title for this movement describes a formal layout in which musical material for a rondo appears only once then returns at the end, after a single episode. The playful character of the two themes presented may have justified in the composer's mind an affinity with the sparkling character classical rondo finales. Other than this, there is nothing connecting them with usual rondo practice. Nevertheless, Tchaikovsky succeeds in developing his ideas originally within the demands of piano virtuosity and orchestral accompaniment.
- Contrastes
- Like the opening movement, this one poses a formal problem, albeit an uncommon one, then solves it simply and well. Beginning as a cadenza for piano solo, the movement contrasts a slow, melodic opening theme (quickly counterpointed by a solo cello) and a quicker, dance-like second theme alternate, contrast and compete against one another, with very lively results, leading into the final section without a break. These very extensive sections take the place of slow movement and finale for a conventional concerto. Tempo indications are Andante Cantabile - Molto Vivace - Vivacissimo - Allegro Moderato - Vivacissimo - Molto Piu Tranquillo - Vivace.
Tchaikovsky had voiced his dislike for the sound of piano and orchestra while writing his Second Piano Concerto with his isolating the soloist from the orchestra as much as possible. Tchaikovsky scholar David Brown notes that the middle section of the quasi Rondo of the Fantasia, written for piano solo, "was the logical goal toward which this precedent had pointed". This gives the section the appearance of a cadenza while actually being based on new material. This cadenza substitutes for the development section in sonata form.
Read more about this topic: Concert Fantasia (Tchaikovsky)
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