Form Concerto in F (Gershwin)

1 form

1.1 allegro
1.2 adagio-andante con moto
1.3 allegro agitato

form

the concerto in traditional 3 movements:

there strong thematic links between 3 movements, of heavily influenced jazz. however, there exists, in each movement, subtle structural integrity that, while perhaps not apparent listener, rooted in classical tradition.

the first movement begins blasts timpani, introducing elements of main thematic material. after extended orchestral introduction, piano enters solo section, introducing melody found throughout movement. here, music alternates contrasting sections of grandiosity , delicacy. climax reached @ grandioso, in orchestra resounds piano s original melody, accompanied large triplet figure in soloist. there cadenza of quick triplet ostinatos leads final section: speeding octaves , chords, culminating in large run of triplet ostinato keyboard along f major 6 chord, bringing movement close.

the second movement reminiscent of blues - beginning elegant melody in solo trumpet accompanied trio of clarinets. faster section featuring piano follows, building gradually until near end, @ point piece deceptively pulls original melody, given flute. movement ends in peaceful, introspective cadence.

the final movement pulsating , energetic several references ragtime, featuring both new material , melodies previous movements. false climax found in grandioso section identical of first movement, in turn evolves build true pinnacle of concerto, again dominated f major 6 chord, bringing piece close.

in own words gershwin wrote description of concerto: first movement employs charleston rhythm. quick , pulsating, representing young enthusiastic spirit of american life. begins rhythmic motif given out kettle drums…. principal theme announced bassoon. later, second theme introduced piano. second movement has poetic, nocturnal atmosphere has come referred american blues, in purer form in treated. final movement reverts style of first. orgy of rhythms, starting violently , keeping same pace throughout.

allegro

the first movement weaves 3 rhythms , themes: charleston, pentatonic runs , sultry. timpani begins movement wham-bok beats, orchestra introduces pentatonic melody accompanied charleston in horns , percussion. thirty seconds in, timpani , orchestra alternate wham-bok beats pentatonic melody. after strings lull, piano introduces main sultry theme used throughout piece. repeated again orchestral counter-melody played cellos , strings @ same time, followed pentatonic runs in piano , continuing accompaniment in orchestra. climaxes chromatic scale run in piano , resolves spanish-sounding syncopation in orchestra. piano charleston syncopation reintroduces sultry theme heard @ beginning of piece. time piano plays counter-melody while orchestra plays sultry theme. micro-cadenza of arpeggios in piano bridges sultry in orchestra variation of charleston accompaniment , pentatonic melody. gershwin plays variant of sultry in e major leads listener climax of piece. after climax, gershwin combines charleston, pentatonic melody , fast-paced triplets modulate 1 key before reintroducing sultry variation in d-flat major. charleston rhythms transition sultry grandioso climax followed triplet ostinatos, fast-paced chords, more ostinatos , c dominant 7 scale. coda ends last 2 minutes charleston , sultry in orchestra , pentatonic lines in piano before ending movement f major 6 chord.

adagio-andante con moto

in second movement, gershwin uses 2 blues themes, similar theme first movement , foreshadows theme of third movement in faster theme played between 2 blues melodies. blues chord progression opens movement, , solo trumpet plays first blues theme. theme introduced alternating seconds-two notes close each other- in french horns, trumpet solo. first minute, trumpet solo sounds similar sultry theme heard in first movement. gershwin continues improvised , variant themes of blues melody. trumpet repeats theme played @ beginning. when trumpet solo ends, piano enters pentatonic variant of first theme before transitioning faster, upbeat second theme. theme foreshadows melody of third movement- through repeated notes. theme variant of 1 heard in first movement. violin solo bridges theme , reintroduces first theme played @ beginning. piano takes on variation in cadenza of both theme , accompanying arpeggios. after cadenza, gershwin passes original theme orchestra, piano , flute. builds climax of piece, alternating between piano , orchestra. movement ends piano playing theme beginning, soft flute , string accompaniment, , d-flat major cadence.

allegro agitato

the third movement fast-paced rondo , reintroduces theme heard in first movement, @ more vigorous tempo. orchestra begins playing main theme of movement in g minor , piano repeats theme in f minor. piano continues play fast-paced notes, orchestra plays counter-melody. glissando piano reintroduces theme first movement played in orchestra before transitioning main theme. orchestra plays second theme soft piano accompaniment. variants of main , secondary themes return. after modulation b-flat major, orchestra plays second blues theme heard in second movement , piano responds secondary theme. rat-a-tat rhythm returns, bridging blues theme , repeated note melody second movement, played orchestra. movement s secondary theme returns in piano before playing chord progression heard in first movement. series of fast-paced octave scales crescendo same grandioso heard in first movement. rat-a-tat theme returns final time in movement; pentatonic chord progressions , final f major 6 tremolo , f major chord finish piece.