Part 1: Prologue: Andante con moto
Part 2: Scherzo: Presto
Part 3a: Tema. Maestoso e moderato molto
Part 3b: Variation I. Molto sostenuto
Part 3c: Variation II. Con espressione poco rubato
Part 3d: Variation III. Pi¨ mosso
Part 3e: Variation IV. Allegretto
Part 3f: Variation V. Molto vivace
Part 3g: Variation VI. Con fuoco, agitato
Part 3h: Variation VII. Con moto, energico
Part 3i: Variation VIII. Andante sostenuto
Part 3j: Variation IX. Andantino ben moderato
Part 3k: Variation X. Finale. Allegro molto
Paderewski’s performance of the concerto caused quite a sensation in New York. There was such a demand for tickets for the concert on 4 March that an open rehearsal had to be added on 2 March. At the concert on 4 March the audience refused to leave. It was only after innumerable bows, accompanied by tremendous applause, that the hall once more dimmed its lights and let Paderewski, who was breaking the Symphony Society’s rule forbidding soloists to play encores at orchestral concerts, return to the piano and play Stojowski’s Chant d’amour.
The New York Tribune’s appraisal of the concerto read:
The Stojowski Prelude, Scherzo and Variations Mr Paderewski has played before, and a rehearing emphasized the unusual beauties of this composition. It is not merely music for the virtuoso, though it is music of extraordinary difficulties; it is also music uplifted by a true melodic inspiration, shot through with much color and filled with incisive and unexpected rhythms. The orchestral accompaniment is in itself music of great beauty, yet always properly subordinated to that of the solo instrument. Needless to say, Mr Paderewski gave his pupil’s work a performance of high excellence and exquisite euphony.
Although all the critics hailed Stojowski’s masterpiece, several of them had one common criticism: the concerto was too long. It turns out, however, that this was due to Paderewski’s performance time, a solid 45 minutes, and not because the composer had written an exceedingly long concerto which in the hands of others takes only approximately 33 minutes to perform. Another critic, this one for The New York Journal, wrote:
Without reservation it is excellent music in itself and excellently written for the solo instrument. The Prologue is a trifle diffuse, but the Scherzo is a brilliant piece of writing, and the theme of the finale has genuine beauty and impressiveness. Some of the variations might with advantage be omitted. With some pruning the piece ought to become a welcome addition to the not too unhackneyed orchestral repertoire of the pianist.
Stojowski, however, may have taken this criticism to heart. When the composer performed the concerto once more with the New York Philharmonic under Willem Van Hoogstraten’s direction in Carnegie Hall on 16 November 1924, the sixth variation was cut from the last movement.
The concerto is played without pauses between movements. The Prologue (Andante con moto) displays the composer’s resources, imagination and prize-winning contrapuntal skill. In a review of the Boston concert, Philip Hale of The Boston Herald wrote: ‘The Prologue is really a first movement. It is, on the whole, the best constructed and the most expressive.’ Of the dazzling second movement Scherzo (Presto), he wrote:
Stojowski’s concerto has many pages that at once win favor. It is tuneful and the themes are easily grasped; the Scherzo is vivacious and a free use of pulsatile instruments keeps the attention going … The Scherzo contains much that is only agreeable tinkling, but the swiftness, a certain grace, and a sparkling instrumental dress insure immediate popularity.
In his description of the last movement’s theme (Maestoso e moderato molto) and ten variations, Louis C Elson of the Boston Daily Advertiser wrote:
The theme of the finale is a splendid one, both intrinsically and for variation purposes. But we scarcely like the variation form for a concerto finale; it generally puts ingenuity in the fore, and poetry in the background. Nevertheless, these variations were in excellent contrast of power, rhythm, and general treatment, and the final pianissimo ending came as a surprise.
from notes by Joseph A Herter ę 2001