Piano Concerto No. 2 (Shostakovich) - Movements

Movements

The concerto lasts around 20 minutes and has three movements, with the second movement played attacca, thereby moving directly into the third (although the second movement does come to an acceptable resolution in C minor, such that the third movement is not entirely necessary to bring the music to a conclusion):

1. Allegro

   The jolly main theme of the first movement is played first by the bassoon, then soon accompanied by the clarinets and oboes. The piano enters unobtrusively with an answering theme, played as single notes in both hands an octave apart. A new theme in D minor, unisons two octaves apart on the piano, gives a song-like effect, winding down to nothing when an abrupt blast from the orchestra leads into tumultuous and jumping octaves in the lower piano register while the orchestra plays a variation on the original piano melody fortissimo. The piano builds in a triplet pattern to introduce the D mimor theme (now in D major) in an augmentation in a triumphant tutti. At the climax, everything comes to a silent pause, and the piano comes in with a fugue-like counterpoint solo. After a minute of the fugue, the orchestra comes back in, playing the melody in the high winds. The orchestra builds on the main melody while the piano plays scales and tremolos, which lead into a joyous few lines of chords and octaves by the piano, with the main theme finally resurfacing and bringing the movement to a close.

2. Andante

   The second movement is subdued and romantic. The mood can be considered tender with a touch of melancholy. Strings start gently in C minor, with a short introduction before the piano comes in with a gentle triplet theme in C major. Although it remains slow throughout, and works within a comparatively small range, it is marked by the recurrence of two- or four-on-three rhythms. The expressiveness of this movement is notable.

3. Allegro

   The finale is a lively dance in duple time, making much use of pentatonic scales and modes. Soon, the second theme is introduced, in 7/8 time, with the piano accompanied by balalaika-like pizzicato strings. This carries on for a short time before a new motif arrives in "Hanon" exercise mode, with scales in sixths and semiquaver runs, this being the joke for Maxim's graduation. These three themes are then developed and interwoven before a final statement of the 7/8 theme and finally a virtuoso coda in F major.