At the young age of twenty, Brahms was introduced to Robert Schumann.  In addition to being a well-known pianist and composer, Schumann published various articles and music journals under many different pseudonyms which reached a wide readership.  Schumann was quite impressed with the young man, and he proclaimed to all his readers that Brahms was the new age Beethoven.  Twenty-five years after his death, Beethoven was still considered the titan in Germanic music, and to have such a heavy proclamation placed on his head was incredibly stressful for Brahms.  Everyone waited for the young man to write the symphony that would succeed Beethoven’s Ninth.  

In attempting to compose his first symphony, Brahms struggled with the pressures place upon him.  An early version of that first symphony turned out to be his first piano concerto.  It began in a piano four hands version, then grew to a four-movement symphony, and when Brahms believed it was not good enough to live up to the reputation that Schumann had placed on him, Brahms converted it to a three-movement piano concerto.  It was completed four years after he was introduced to Schumann and received moderate success in its premiere.  

This concerto was the first orchestral work for Brahms and right from the start he is trying to announce himself as the heir to Beethoven.  After a lengthy angst-ridden and forceful introduction by the full orchestra the piano’s first entrance is rather understated, pleading, yet refined.  Brahms is known for long languorous melodies, which he showcases throughout the movement.  There are some truly remarkable moments in this complex movement.  The climax of the movement is at the recapitulation when the timpani roll from the beginning is restated and we are supposed to return to the original key of the opening, and instead the piano enters in a non-relative key.  It is quite startling and was even more so when it was first heard.

The gorgeous slow movement is a musical portrayal of Robert Schumann’s wife.  Brahms wrote in a letter to her, “I am painting a portrait of you.”  By this time Robert Schumann had died and Clara was alone to raise her family and Brahms stepped in to help.  Brahms probably loved her on some level.  Throughout this movement you don’t have to imagine how he felt for her as it is laid out for all to hear - admiration, respect, sympathy, and love.  

Brahms may have found inspiration for the third movement from the finale to Beethoven’s Third Piano Concerto.  As in the Beethoven, this movement is a rondo (repeating and alternating themes) and begins with the piano stating the initial theme.  An extended and exciting coda (also like the Beethoven), which includes another featured solo for the piano, brings the concerto to its climactic conclusion.

-Notes by Kevin Lodge