When the Piano Concerto turns into a Nocturne

Marked Allegro moderato molto e marcato, the 3rd and final movement of Grieg’s piano concerto is a flurry of fiery virtuosity. Grieg changes the mood dramatically with this piano solo, which sits at the opposite end of the spectrum of romanticism. Whilst the rapid dramatic sections excite and impress listeners, this moment of calm seems to be representative of inner-turmoil rather than visible action, as the longing chromatic apoggiaturas symbolise weeping and melancholy. This moment can be compared to a nocturne due to the cantabile melody, simple rolling arpeggiated accompaniment and the intimate atmosphere. This melody is stated 3 consecutive times before moving on; firstly by a solo flute, then twice by the piano as in this video. The 3rd reiteration is significantly grander and more passionate; though the left hand plays identical arpeggio waves, the melody in the right hand uses octaves and insistent repeated chords. This theme turns out to be central to the finale of the piano concerto as it returns in the tonic major key of A major in the coda, where the intimate atmosphere of the first statement is discarded for a colossal wall of sound in the orchestra. This thematic metamorphosis is what makes Grieg’s music so amazing, also in this movement, the very serious and percussive first theme, which is introduced by the piano is transformed into a playful chromatic scherzo, a highly intense and melodramatic piano solo and a bubbling orchestral climax to name just 3 examples. The ingenious thing is that it doesn’t take deep, academic analysis to notice these transformative developments, first listeners can pick up on this striking evolution making the unfolding of this piece highly effective and accessible. This was performed by me, please subscribe for more breakdowns of romantic repertoire. (And comment which piece I should do next)