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NORA BRADBURY (Pianoforte) with Orchestra


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THIS Concerto was written soon after Mendelssohn came home from his Italian and Swiss tour in 1831, when he was twenty-two.
His travels had delighted him, and this work seems to be an expression of his high spirits, his gusto in enjoying the pleasures that life was bringing him.
There are three Movements.
1. Very quick, fiery. Instead of giving us the time-honoured ' opening remarks' of the Orchestra, introducing the themes to be created, Mendelssohn, after only seven bars, plunges straight away into his First Main Tune, which the Piano has by itself.
The soloist and orchestra for a while toss a ' conversational ball to and fro, and then the quiet Second Main Tune creeps in. These tunes are developed in vigorous fashion, and after their recapitulation, a Trumpet and Horn passage leads us to a new key for the next Movement which follows without a break.
II. Slowish. One Main Tune, expressive and restful, suffices here. It is given out by the 'Cello, to which Mendelssohn was fond of giving themes. Other Strings, with Bassoons and Horns, accompany it. The Movement consists of delicate, varied repetitions of this, by either the soloist or the orchestra.
III. A short introductory section. Very Quid-, leads to the brilliant First Main Tune, a galop for the Piano. Here is the essence of youthful vivacity, that in Mendelssohn was never tinged with vulgarity, but always had in it something high-toned and urbane.
After the opening Tune comes a second idea, a coruscation of arpeggios, much used throughout the Movement.
A third motive is a phrase for Flutes, consisting of a repeated four-note figure, the second note trilled.
Using, these materials with brilliant spotaneity and handling his orchestra (especially the Wood-wind) with delightful ease and certainty, Mendelssohn works up the Movement, rounding it off with a final irresistible outburst.


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NORA BRADBURY (Pianoforte) with Orchestra

6BM Bournemouth, 14 November 1926 16.00

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