The Piano Concerto No. 2 in G minor, Op. 22 by Camille Saint-Saëns was composed in 1868 and is probably Saint-Saëns' most popular piano concerto. It was dedicated to Madame A. de Villers (née de Haber). At the première on 13 May the composer was the soloist and Anton Rubinstein conducted the orchestra.[1] Saint-Saëns wrote the concerto in three weeks and had very little time to prepare for the première; consequently, the piece was not initially successful. The capricious changes in style provoked Zygmunt Stojowski to quip that it "begins with Bach and ends with Offenbach."[2]
The piece follows the traditional form of three movements but allows for more freedom in tempo markings. Normally, the first movement is fast-paced, while the second is slower, but the first movement here is slow and the second movement has a scherzo-like quality, resulting in a form resembling a typical four-movement symphony but lacking the first movement (a form also represented by Beethoven'sMoonlight Sonata).
The concerto begins with a piano solo playing a long improvisational introduction in the style of a Bachfantasia. After the orchestra enters, the restless and melancholy first theme is played, again by the piano solo. Saint-Saëns drew the theme from his student Gabriel Fauré's abandoned Tantum ergo motet. A brief second theme appears, followed by a middle section of increasing degrees of animato. The main theme is recapitulated fortissimo and the soloist is given a long ad libitumcadenza. The Bach-like opening motif returns in the coda.
The second movement is in E-flat major and, instead of being a typical adagio, resembles a scherzo. The mercurial piano part is marked leggieramente, and the two main themes are clever and light-hearted. The energetic, delicate personality of this particular movement is characteristic of Saint-Saëns' musical wit, most famously observable in Le Carnaval des Animaux.
The concerto concludes by returning to G minor. Like the preceding movement, it moves quickly; this time the form is an extremely fast, fiery saltarella, in sonata form, featuring a strong triplet figure. At presto speed, the orchestra and soloist rush tumultuously along, gaining volume and momentum and finishing in a whirlwind of G minor arpeggios.
The concerto, particularly the second movement, heavily influenced fellow French composer Gabriel Pierné's Piano Concerto in C minor of 1887.[3]
The composer was also very fond of Chopin's Scherzo n. 4, which may have influenced this movement.
Georges Bizet wrote a transcription of the concerto for solo piano.
The concerto is featured in the 2020 film "Nocturne".
Benno Moiseiwitsch, piano, London Philharmonic Orchestra, conducted by Basil Cameron. 1947, report CD Naxos 2002,
Benno Moiseiwitsch, piano, Royal Philharmonic Orchestra, conductor Sir Eugene Goossens 1960, report CD Classica (Les introuvables) 2020 (3e mouvement)
Arthur Rubinstein, piano, New York Philharmonic Orchestra, conductor Dimitri Mitropoulos (Live 19/04/1953). CD Guild Music 2009
Emil Gilels, piano, Orchestre de La Société des Concerts du Conservatoire, conductor André Cluytens. LP Columbia 11/1954, report SACD Praga 2013. Diapason d'or. piano concerto n°4
Gabriel Tacchino, piano, Orchestra Of Radio Luxembourg, conducted by Louis De Froment "Complete Works For Piano And Orchestra" 3 LP Vox 1976 / reprint: CD Brilliant Classics
Jeanne-Marie Darré, piano, Orchestre National de la Radiodiffusion Française, conductor Louis Fourestier, recorded 1955. Published as CD EMI Music France 1996[4]
Larner, Gerald (2011). Pierné: Piano Concerto, Divertissements sure un Theme Pastoral, Suites from 'Ramuntcho,' Marche des petits solidest de plomb (CD). Chandos Records. p.5-6.
