John Field (1782-1837)

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Piano Concerto No.1 in E flat major

Field wrote his first concerto at the end of the 18th century, and he performed the work in London in 1799. It is therefore a precocious teenage work, although it underwent various revisions before being published in St Petersburg in 1814. It is a thoroughly attractive and assured concerto, classical in outlook but with beautiful use of harmonies, particularly in the glittering piano part. Well written and well laid out, it is constantly fresh and appealing, with few of the tiresome moments that one finds in the later concertos. Like Brüll's first piano concerto, it is an incredible achievement for someone so young.

The first movement (Allegro) is effectively in classical concerto form, but with some modifications. The polite classical main theme does not return in the same form, either when the piano enters for the solo exposition, or at the reprise. It does, however, return at the end of the solo exposition, as it had done so at the end of the orchestral exposition, but does not return again anywhere in the reprise. The graceful second theme, which is articulated by strings in repeated quavers, doesn't return in the same form either. Instead the piano adapts it in the solo exposition and reprise, and it also returns in the development section in the minor mode, a beautiful moment. As with most late classical/early romantic piano concertos, thematic material usually leads to lengthy piano extensions and climaxes which in this movement are handled with poetry and effortless piano configurations. The development employs dramatic motivic passages as well as a beautiful piano episode with orchestra. In the reprise Field already shows no interest in the classical cadenza, which, unless it was axed during revisions, is unusual for a concerto written before the 19th century. However, the florid piano writing exhibited in Field's concertos, as with those of Hummel and Chopin, do not really require them.

The second movement is based on the Scottish air Within a mile of Edinburgh Town by James Hook. It is a pretty, wistful tune, which is first given by the orchestra although the piano beautifully enters before the final phrase. Field effectively adds two variations, the first including lovely piano harmonies and decoration, the second with additional motion in the piano writing owing to it's change to triple time. Finally, a beautiful coda closes the movement.

The finale (Allegro vivace) similarly gets off to a folksy Scottish-inspired start, with an attractive dance like melody set against an orchestral drone. The theme returns four more times in the movement, the final rendition given as the coda. Between these renditions of the main theme (the second repeat being a beautifully decorated version), are well handled piano extension passages and development. The development following the third repeat of the theme is particularly effective as it modulates through various keys and becomes quite intense. It is a thoroughly satisfying movement, with nice treatment of the main theme, and while the concerto is not a deep or particularly innovative work, it is entirely successful in its own terms, and well worth more than one hearing.

Piano Concerto No.2 in A flat major

Piano concertos in A flat are not common, and Field usually preferred E flat or C major. Even Mozart didn't write a piano concerto in A flat. Although it is not clear when the concerto was composed, it was published in Leipzig in 1816, and was probably written not long before then. It certainly represents a distinct development on No.1, being more expansive and sounding less classical in spirit, while exploring greater depths of poetry and feeling. However, it can still be essentially defined as genteel romanticism, with little in the way of combative drama. The concerto is often chirpy one moment and reflective the next, but those rare dramatic moments that do occur, as in the finale when the piano expands on the orchestral tutti theme in a muscular work out worthy of a more famous composer, are particularly memorable. But it is the poetry of the themes and their harmonisations, and the beautiful way the piano expands on and extends them that is particularly memorable in this concerto.

The Allegro moderato first movement opens with a smooth string theme with falling lines in the accompaniment, and what continues is a traditional orchestral exposition. The second theme is in two parts, and while it returns in the solo exposition and the development where it moves to the minor mode to excellent effect, it does not return in the reprise, therefore ensuring that it doesn't outstay its welcome, and ensuring that the reprise remains varied and taught rather than predictable and over long. Unlike the first concerto, there is no piano variation of the second theme, only the usual piano extension and climax. The piano entry is strong with a rhythmic version of the main theme, and later in the solo exposition it muses on the theme before moving into an expansive and beautifully conceived piano extension/climax passage. All of the piano expansion passages and climaxes are poetic and memorable in a Mozartian way, and not simply going through the motions as other early romantic concertos (e.g. the Hummel concertos) are prone to do. The development is nicely handled too, starting with pleading gestures from the piano, then modulating and moving into a lyrical piano episode against dramatically hushed strings. A Mozartian episode in reflective mood then leads to some strong utterances, before the second theme returns and a dramatic climax takes place, with more outpourings of beautiful piano configuration. After an orchestral tutti the music music melts into lovely Mozartian string phrases based on the main theme, the piano enters with a rhythmic passage leading to the reprise proper. It is a logical and attractive development which sets up a well worked reprise of the first theme and the various piano extension material from the solo exposition.

The graceful and classical Siciliano second movement (poco adagio) is essentially a long outpouring of melody which develops out of the opening theme. After some reflective piano phrases the music returns to the outpouring of melody, before references to the main theme fade away and the short movement closes.

The Moderato innocente finale is relaxed and graceful, and starts with a delicate and simple theme given by the piano. A brighter orchestral tutti theme is joined by the piano in cheerful music making which has little suggestion of conflict. After a bright piano extension and development of the main theme, the second theme is introduced, and then music based on the main theme. The main theme returns with a drone reference in the orchestra, followed by orchestral and piano development, and then the tutti theme also returns, together with some beautiful thematic development and extension . A change of time takes place and the music picks up greater momentum. The ensuing piano and orchestral development, which is based on the main theme, is dramatic, muscular and memorable in a concerto which otherwise plays down the dramatic potential of the concerto. Eventually the main theme returns again played by the wind section, continued by the piano in a bright and celebratory mood, with decorative piano passages. The contrapuntal work out is effective, and a drone pedal in the orchestra accompanies the main theme once more with some beautiful harmonies, before leading to a strong orchestral close.

Piano Concerto No.3 in E flat major

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Piano Concerto No.4 in E flat major

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Piano Concerto No.5 in C major, 'L'Incendie par l'Orage'

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Piano Concerto No.6 in C major

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Piano Concerto No.7 in C major

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The Recordings

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