{DISCLAIMER: I am far from a professional music connoisseur, this is just my shot at analyzing the piece, most of my knowledge coming mainly from reading other KZfaq video analyses (thanks, Ashish). I hope you'll enjoy reading this just as much as I enjoyed writing it, and hopefully, it'll guide you too, in some way.} *I. ANDANTE MODERATO* EXPOSITION 0:00 The concerto opens with a gentle tonic (Eb) chord played by the orchestra. The piano immediately enters with warm, lyrical arpeggios, replaced by a sudden rhythm acceleration (0:16) over which Theme 1 (T1) is played by the woodwinds, melodic and intriguing. This introduction is repeated a second time, the orchestral chord replaced with a more mysterious Eb dominant 7th (Eb7) at 0:31, and a third time with an E diminished 7th, furthering the music into a darker place. A crescendo in the orchestra (1:17) ensues, leading into a brief, tumultuous piano cadenza (1:27) bringing us back to 1:38 Eb major. Theme 1 is repeated, this time by the piano in fortissimo, completely changing its mood: it has become affirmative, dominant, self-assured. An abrupt Lisztian octave passage (2:12) leads us to the orchestra’s return for the transition theme (T+), divided into two phrases: a jumpy, dwarf-like dialogue with the piano, and a contrastingly heroic D-major chordal section in fortissimo (2:42). Another cadenza ensues, leading to 3:17 G minor, Theme Group 2, Theme A (TG2-A), an enigmatic, sphinxlike melody, is played by a quasi-solo piano before being taken over by the orchestra. Yet another quick cadenza (3:55) brings us to Theme B (TG2-B), in the relative B-flat major, a lyrical phrase played multiple times, respectively by orchestra alone (4:07), piano accompanied by the orchestra (4:28), and piano alone (5:20). DEVELOPMENT 5:44 T1 comes back somewhat suddenly, developing on an F7 chord, before an abrupt Bb7 chord (6:02) starts the development of T1’s two motifs with rising chord cascades on the piano. 6:19 brief return to B-flat major for a second repeat and development of TG2-B, again by the orchestra, backed this time by arpeggios rising up and down on the piano. A brief hint at TG2-A appears at 6:55 in the orchestra. What has to be one of the most beautiful dialogues between piano and solo violin then emerges at 7:00, over an Ab chord, a short, oscillating, fragile moment that somehow always makes me think of a rose gently twirling in the wind, approaching dangerously close to a chasm. The chasm, of course, being- 7:34 Dramatic peak of the movement, a rare outburst of despair in Massenet’s music, repeated descending chromatic scales at the piano over an F minor chord stating T+, its structure inverted this time: the heroic section is played first (in Fm, then Bbm) followed by the dwarf section (7:59) by the orchestra. The piano then introduces a fughetta section (8:10), quickly joined by the orchestra, ingeniously blending T+ and TG2-A, revealing their close relationship. Another octave passage (8:57) announces the heroic return of RECAPITULATION 9:09 T1, back in the home key of Eb, this time played by the strings first, then by the piano, this time with a passionate orchestral accompaniment punctuated by majestic timpani. 9:50 T+, this time devoid of the second section, as if the dwarfs had vanquished the knight. 10:12 TG2-A, in C minor (relative minor of the home key) 10:41 TG2-B, in Eb major. At 11:00, the piano wanders off alone in a heartbreakingly beautiful passage, before the theme is restated, then giving away to a dramatic fortissimo section (12:10), finally erupting into 12:25 CODA, An exuberant conclusion punctuated by virtuosic passages, breakneck octaves, and a final, majestic Eb. *II. LARGO* 13:29 Theme, in B major. An incredibly touching, contemplative chordal progression played by piano alone, centered around Motif 1 (M1), contained within the first bar: a repeated note with a recognizable rhythm (crotchet - double-dotted quaver+demisemiquaver - two quavers - triplet). At 15:06, the orchestra gently joins in, remaining in a background, creating such a warm and at-home atmosphere one could almost - cheesy, I know - feel a fireplace crackling by their side. 15:37 M1 is repeated alternately by the orchestra and the piano, growing in size and menace each time, completely departing from the cozy impression it initially prevailed in, to branch towards- 16:05 M2 is introduced, a simple trill and upwards leap, over rising-and-falling development over diminished chords by the piano. The two elements put together depict a rather frankly creepy scene, both quietly menacing and somewhat wandering, somewhere between a nightmare and a dream. 16:31 A suddenly much warmer texture is introduced, with a transitory theme played by the piano, accompanied by woodwinds and pizzicato strings. 17:11 M1 and M2 interact, bringing back the misty-graveyard atmosphere and showing M1’s multiple facets. 17:31 The piano is left alone with M1, returning innocently to its initial key, but played much more brutally this time over a G-sharp bass (so that we don’t feel *too* much at home) 17:54 Theme 2, in G# major, played by the piano, a twirling, swaying thing backed by M2 and M1 alternately in the orchestra. The theme gets progressively more restless, emerging into a fortissimo at 18:27. At 18:44, we get brutally assaulted by brass, squawking M1 away. If the initial theme’s lullaby call had gently drifted you to sleep, you’re definitely awake now. 18:48 Theme 2 by the orchestra, in a slowed form and in C major, while the piano hammers chords away. Tension builds up until- 19:18 Dramatic peak of the movement. Tempestuous tremolo strings backup striking piano octaves over Theme 2, in E minor, yet again violently contrasting with its initial breezy nature. Over M2 in the strings, the piano rises up and fiercely descends into an erupting, cadenza-like descending chromatic line before melting into vibrating tremolos, finally leading to 19:50 A trembling, anti-climatic climax, Theme 1 returning in pianissimo in the orchestra over tremolos in the piano’s lowest register, ranking high-up as one of my favorite moments in music. At 20:32, the orchestra exits to give way to the standalone piano, voicing the theme again in a hushed tone. 21:14 Sudden return of M2, the eerie scales floating back. This time, though, the M1/M2 interaction at 21:34 hangs over a gentle major chord, as if the two motifs had finally made peace. 21:45 Theme 2 returns, in B major. 22:13 Another incredibly beautiful moment, Theme 1 coming back one last time in the orchestra over 32nd-note accompaniment by the piano, contemplative more than restless this time, always reminding me of Mendelssohn’s first piano concerto (cf: kzfaq.info/get/bejne/gdBmhKmfvL3Gfnk.html) 22:38 CODA: Transition theme comes back in the orchestra, the piano’s pulsating accompaniment slowly fading away into nothingness. *III. AIRS SLOVAQUES - ALLEGRO* 23:14 Introduction, a dialogue between piano and orchestra already setting the scene for the rest of the piece (while containing much material that will be reused later on): frenetic, agitated, threatening, and full of dramatic power. 23:51 T1, in C minor. A menacing, sort of gnome-like march played multiple times by piano alone, punctuated by occasional percussion. 25:01 T2, in Ab major. Grandiose, triumphant, like a knight chasing away the gnomes (remember this same setting from Mvt. 1? Massenet seemed to like this contrasting configuration) 25:15 T3, in the same key, woodwinds singing a gentle, bird-like theme accompanied by triplets on the piano evoking, perhaps, a scene by the lake. 25:35 The scene is suddenly interrupted by loud orchestral and piano octaves, announcing the return of 25:45 T1 1, moving chromatically upwards from Cm to Dbm, and then to - 26:08 Eb major for T2’s return, although this time it isn’t followed by the lake theme but a new one: 26:20 T4, in G, a jaunty, childishly playful kind of dance. At 26:56, we get a quick glimpse of T3 (triplet configuration at the piano) At 27:07, the introductory theme quickly comes back, announcing the return of 27:14 T1, still in Cm, although this time with an alternate rhythm from 27:20, growing in freneticism and agitation. At 27:34, the tension reaches a peak, before being chased away by 27:36 T3 in C, the lake scene and billowing flowers returning, chasing the gnomes yet again away. 27:57 A very brutal arrival of yet another theme, T5, in Ab major, as if the composer had been struck with a sudden burst of irritation while at the piano. The theme is split into two parts: a heated, angry, short-tempered march, and, at 28:04, a contrasting fleeting, will-o’-the-wisp kind of thing punctuated by fugitive flutes and trills in the orchestra. The two themes fight for a while, succeeding to each other, but are interrupted by the return of- 28:58 CODA: T1, with a menacing tempo acceleration growing increasingly pressuring as the theme is repeated, each time at a higher octave. 29:26 T5, as the action speeds up even more. T5 continues in a reduced form in the orchestra over piano frenzy. 29:49 One last return of T1 as the agitation reaches an apex, followed by a flurry of rising broken octaves, the concerto dramatically ending on the relative minor of the original (Eb) key.

It's a pity that people only know Massanet from the Mediation from Thais, as this is one delightful piece of music.

Opening reminds me of Saint-Saens Piano Concerto No. 3 and the opening of Wagner's Das Reingold

I considered myself a very lucky man thirty years ago when I found a cassette tape of this piece for $30...wow, it was worth every penny. Now it's free on KZfaq, with the score! Amazing.

Really makes me think of a more advanced tonally Saint-Saens ! Brilliant and thoughtful !

Some weird transitions seem to have invaded the video at 23:40 and 27:03, sorry 'bout that!

I am always fascinated and moved by a concerto that finishes with a relative minor. Thanks for the upload and info!

Great work and exellent interpretation and sound !

Scandaleux que ce concerto ne soit jamais, ou presque, joué !

Great!! 🎉

Lovely

quite striking!

Massenet is surely one of the greatest French composers.

ぎゅうぎゅう詰めな音楽が多い中この簡素な内容は私の好みです

I disagree with those who find this piece "boring" or "only worth listening to once". I find it to be fascinating, with just the right touch of exoticism that might have made even Saint-Saëns a bit jealous.

Normally performances by renowned, gifted pianists are of good memorable music - all that Dosse, Bolet, Richter, Klein, Brendel etc. have played and recorded is worth listening to.

the beginning sounds so much like Das Rheingold

Hi😊

I’m glad he wrote one but it seems to belong to the rather charmless Alkan school of French technique

a lot of nice music, but without saying much

A pleasant curiosity but loses interest quite quickly

I will listen to about any piano concerto once. I cant imagine listening to this one again. It is truly a juggernaut of not interesting. Certainly not the worst i ever heard. But tiresome. Give me Alkan anyday.

Actually, J. Massenet is not a very underrated since his two operas Manon and Werther are among the most frequently performed French operas, but this concerto surely deserves more recognition.